SEVENTH  EDITION. 


'<$) 


"Hew  T0  j^PPLY 


KOI 


^E„  W  Ci 


b  CHI/NCI 


A  Practical  Elementary  Hand-Book 
for  Amateurs, 


Coritair[ir|g  Reliable  Methods  for  Gilding,  Mixir\g  of  Color.", 
Grour\d-Layiqg,  Relief-Paste,  Firing,  Etc. 


1891. 

Published  by  the  Osgood  Art  School, 

DOMESTIC  BUILDING 
Cor.  Broadway  and  14th  street, 
NEW  YORK. 


COPYRIGHT,  1891, 

BY  A.  H.  OSGOOD, 

NEW  YORK. 


{All  rights  reserved.) 


PRESS  OF  STYLES  A  CASH,  NEW  YORK. 


(Contents. 


HACK 

Apple  Blossoms  and  Bird,  61 
Acid — Hydrofluoric,      .  17 

Backgrounds,  .    .    .  73-75 

Brushes,  12,  13 

Birds  and  Branches,    50,  51 
Birds  and  Blossoms,     .  60 
Birds,  Treatment  of,     .  130 
BonDonniere,  with  Dres- 
den and  La  Croix  Col- 
ors,  161 

Blue-Tailed  Sylph  Hum- 
ming Bird,     .    .   .  .134 
Butterflies,  .    .   .     .  .139 
Burnishers,  87 

Chrysanthemums,     .    .  45 

Cactus,  59 

California  Morning 

Glorys,  .  .  .  .  .  61 
Clematis,  ....  62,  63 
Canvas-Back  Duck,  .    .  144 

Chickens,  151 

Crimson   Topaz  Hum- 
ming Bird,    ....  135 

China   Firing,  Prelimi- 
nary to,     ....  19-22 

Crab,  .    .    .    .    .    .  .128 

Clovers,  33 

Directions  for  Mixing 
Colors,      ....  37-40 

Directions  for  Laying 
Grounds,      .    .    .  76-79 


PAGR 

Directions  for  Using  Tar 
Paste,  80 

Directions  for  Mixing 
Relief  Paste,     .    .    .    8 J 

Directions  for  Using  the 
Osgood  Art  School 
Gold,  85 

Decoration  for  Egg 
Dishes,  151 

Dresden  and  La  Croix 
Colors  for  Figure 
Painting,  154 

Drapery,  157 

Deer,  150 

Eyes,  157 

English  Pheasant,    .    .  146 

Enamels,  84 

Flowers  and  Birds,  .  41-66 

Fish,  92-129 

Fish  Painting,  Materials 
and   Colors  required 

for,  95 

Flesh  Tints,     .    .    .  .155 

Flux,  15 

Garden  Anemone,  .  56-57 
Glass  vStaining,  .  167-175 
Game,  140 

Hair,  156 

Humming    Birds  and 

Swallows,  .  .  .  .134 
Hemp  Birds,    .    .    .  .132 


©entente. — t 


^cntinued. 


PACK 

Hard  or  Unfluxed  Gold,  S9 

Iris  for  Tray,   .    .    .  55,56 

Jewels,     ....      84,  134 

King  Humming  Bird,  .  135 
Kingfisher,  131 

La  Croix  Colors,  .  .  23-36 
Lotus    Blossoms  and 

Leaves  for  a  Tray,  47,  48 
Lotus  Buds  and  Leaves 

for  a  Plate,  .  .  .  48-50 
Lobster,  128 

Materials  Necessary,  .  6 
Mediums   for  Painting 

and  Tinting,      .    .     9-1 1 
Method  and  Manipula- 
tion 158 

Mexican  Star  Humming 

Bird,  136 

Morning  Glorys,  ...  34 
Matt  Gold  81 

Neutral  Background,    .  158 

Orchid,  43 

Oyster  Shells,  ....  129 
Owls,  132 

Passion  Flower,    ...  67 

Pansies,  54 

Periwinkle,  .    .    .    .  44,  45 
Peonies,  Conventional- 
ized,   52,  53 

Primroses,  64 

Poppies,  58 

Purple  Clematis,  .  .  51,  52 
Partridge,  140 


PACE 

Peacock,  131 

Paraquets  130 

Quail,  143 

Rose  Plate,  with  Dres- 
den and  La  Croix  Col- 
ors.   Illustration,  .    .  165 

Rose  Plate,  Treatment 
of,  166 

Rabbits,  147 

Rofous  Swallows,      .  .138 

Suggestions,  with  Hints 

and  Cautions,  .  .  14-18 
Sauce-Boat,  Treatment 

of,  127 

Sauce-Boat,  Tray  for,  .  124 
Selection  of  China  for 

Decorating,  ....  7 
Shadows  for  Flesh,  .  .156 

Snipe,  142 

Squirrels,  148 

Staffordshire  Potteries 

and  Folk,      .    .    .  .179 
Substances  from  which 
Glass  and  Porcelain 
Colors  are  obtained,  .  173 

Treatment  for  Fruit,  67-70 
Treatment  for  Leaves,  71 ,  72 
Treatment    of  Flesh, 
Hair,  Drapery,  etc.,  .  155 

Vervain  Humming  Bird,  137 

Wild  Duck,  145 

Wild  Turkey  147 

White-breasted  Swal- 
low,  138 


|ntpoduetcp\j. 


I~ TAHE  principal  object  of  this  practical  hand- 
book will  be  to  solve  the  difficulties  attending 
the  application  of  vitrifiable  colors  to  china. 
There  will  occur  many  repetitions  of  ideas,  which 
seemed  unavoidable  in  the  desire  to  make  it  as 
elementary  as  possible.  Its  methods  are  based 
upon  the  best  practical  experience,  and  devoid  of 
all  complications,  making  a  clear  and  concise 
reference  manual  for  amateurs,  and  a  rapid  guide 
for  those  who  already  possess  some  knowledge  of 
ceramic  decorations.  The  first,  second  and  third 
editions,  were  confined  principally  to  Royal  Wor- 
cester, and,  having  met  with  general  approval  and 
liberal  patronage,  we  are  encouraged  to  enlarge  the 
present  edition,  by  adding  illustrations  and  several 
new  chapters  treating  upon  figures  and  flowers, 
after  the  Dresden  methods.  Also  treatment  with 
La  Croix  colors  is  given  for  fish,  fruit  and  flowers, 
besides  full  and  explicit  directions  for  ground  lay- 
ing, gilding,  mixing  of  colors,  firing,  etc.,  thereby 
uniting  theory  with  practice  throughout  its  pages. 
Amateurs  are  greatly  encouraged  to  further  ex- 
cellence when  they  find,  with  the  aid  of  reliable 
information,  they  are  able  to  secure  good  results  ; 
and  to  those  who  are  undertaking  the  task  of  self- 
tuition,  this  manual  will  be  found  invaluable. 


6 


[Materials  P\ 

20  to  25  colors. 

Ground-glass  slab  and  muller,  for  mixing. 
1  porcelain  palette,  size  7  x  4^  inches,  with  21 
recesses  and  cover. 
1  erasing  point. 
1  ivory  stylus, 
i  alcohol  lamp. 

1  steel,  and  horn  palette  knife. 
1  bottle  of  tinting  and  painting  oil. 
1       "        tar  oil  for  mixing  relief  paste. 
1       "       fat  oil  for  colors  and  gold. 
t       "        tar  paste,  for  stenciling  designs  pre- 
paratory for  painting. 

1  bottle  of  rectified  spirits  of  turpentine. 
6  imported  French  shaders,  assorted. 

3        "  "      tracers  for  outlining. 

2  "  "  tracers,  very  small,  for  lay- 
ing relief  paste  and  gold. 

1  large  No.  6  deer-foot  stippler,  for  blending. 

2  small  stipplers,  for  gold. 

2  grounding  brushes,  sizes  ys  and  j4. 
1  stick  of  India  ink. 

1  sheet  adhesive  paper,  to  secure  tracings  in 
place  while  transfering  the  design  to  china. 

Tracing  and  impression  paper. 

Dabbers  made  of  soft  linen  or  silk,  for  blending 
backgrounds  ;  always  have  a  full  supply. 

A  small  piece  of  pumice  stone,  or  emery  cloth. 
No.  00,  for  removing  roughness. 


dfhe   -§eleetion  of  %\\\wa  for 
©eeomting, 

Particularly  for  figures,  faces,  etc.,  should  be 
free  from  indentations,  black  specks,  scratches, 
fire  cracks,  and  perfectly  white,  having  a  highly 
polished  surface  and  selected  with  special  care, 
while  for  general  decorating,  it  is  not  necessary  to 
be  so  exacting,  having  in  view  pretty  and  artistic 
shapes  which  are  not  confined  to  one  manufac- 
turer alone. 

The  Berlin  porcelain  has  great  resistance  and 
requires  a  strong  fire  to  "  fuse  "  the  colors.  Its 
highly  finished  surface  makes  it  desirable  for 
figure  painting. 

The  French  porcelain  works  kindly  with  all 
colors,  and  fires  beautifully,  and  they  certainly 
excel  in  designs  as  all  importations  show. 

The  English  ware  has  a  soft  glaze,  rendering  a 
high  gloss  to  the  colors  in  firing. 

Copeland  (of  Staffordshire)  manufactured  ware 
has  a  blue-white  glaze. 

Minton's  is  rather  gray  in  tone. 


8 


The  Doulton  pottery  has  a  creamy,  soft  tint 
which  is  complimentary  to  all  colors,  particularly 
the  pinks,  and  for  gold. 

American  productions  are  really  so  beautiful 
and  unique  in  form  for  table  service  and  art 
pieces,  we  shall  soon  be  able  to  confine  our 
selections  entirely  to  home  manufacture.  The 
exquisite  creamy  glaze  and  delicate  finish  of  the 
Trenton  (New  Jersey)  Ware  should  compel  a 
very  careful  treatment  with  color.  It  is  a  question 
whether  you  can  improve  it  with  background 
tints — would  rather  suggest  raising  designs  solidly 
with  relief  paste,  or  outline  decoration,  to  be  com- 
pleted with  different  colored  golds. 

It  is  a  waste  of  time  to  decorate  china  which 
has  been  in  use,  as  it  frequently  turns  black  in 
firing,  and  the  spots  cannot  be  removed. 


fop  p> 

It  is  absolutely  necessary  that  all  mediums  used 
with  vitrifiable  colors,  should  be  of  the  very  best 
quality  ;  it  is  misplaced  economy  to  have  them 
otherwise.  If  unreliable  they  either  dry  too  rap- 
idly, and  more  often  not  at  all,  remaining  oily  and 
gathering  dust,  until  the  final  test  by  fire  develops 
blisters  and  gives  to  the  painting  a  crackled  effect, 
besides  many  other  discouraging  results. 

To  guard  against  all  possible  difficulties  of  this 
kind,  use  the  tinting  and  painting  oil  prepared  by 
the  Osgood  Art  School  for  amateurs,  working 
equally  well  with  Royal  Worcester,  (it  does  not 
glaze  them,)  Dresden,  and  La  Croix  colors.  It 
combines  in  one  preparation  several  oils  of  the 
finest  quality,  and  restricted  to  such  exact  propor- 
tions, that  it  can  always  be  depended  upon  as  a 
thoroughly  reliable  medium  in  every  respect. 

The  proportion  of  tinting  oil  to  colors  for  paint- 
ing is  about  two-thirds  of  color  to  one  of  oil, 
which  must  be  mixed  with  the  color  first.  After- 
wards add  the  turpentine  ;  if  too  much  is  used, 
the  color  will  run.    The  right  consistency  is  soft 


to 

paste  or  cream,  which  will  flow  smoothly  from  the 
brush.  If  the  color  is  too  thick,  it  will  drag  in 
working-,  or,  if  too  thinly  diluted,  it  will  not  hide 
the  glaze  of  the  china. 

Tar  oil,  a  very  satisfactory  medium  for  mixing- 
with  relief  paste.  It  should  always  be  perfectly 
fresh. 

Mediums,  after  a  time,  become  fat,  and  there  is 
greater  risk  in  using'  them.  If  well  corked,  this 
can  in  a  measure  be  avoided. 

Tar  paste,  a  special  medium  prepared  for  re- 
moving color  from  back-grounds,  leaving  the 
design  in  white  for  painting.  By  its  use  you  are 
able  to  secure  a  clear,  sharp  outline,  and  a  release 
from  the  tiresome  process  of  "scratching  out."  It 
is  always  ready  for  use. 

Rectified  spirits  of  turpentine  is  more  pleasant 
to  work  with,  as  the  odors  from  inferior  qualities 
are  strong  and  disagreeable. 

Clove  oil,  a  useful  medium,  especially  in  painting 
figures,  fruit  and  fish,  where  the  colors  are  stippled 
into  soft  blended  effects.  It  keeps  the  colors 
open. 

Fat  oil,  required  for  mixing  colors  and  gold. 

There  is  a  general  tendency  with  beginners  to 
slight  the  fact  that  all  mediums  should  be  used 
sparingly.  -It  is  almost  incredible  how  small  a 
quantity  is  actually  required  to  prepare  the  colors 
for  working  smoothly,  while  an  excessive  use  ends 
in  repeated  failures. 

Understand  the  difference  between  lean  and  fat 


1 1 


mediums,  by  testing-  them  with  colors,  using  too 
much,  and  again,  with  the  right  proportion.  The 
colors  should  present  as  little  glaze  (produced  by 
oils)  as  possible,  working  them  nearly  dry — not 
too  much  so — never  too  moist. 

To  succeed  well  be  systematic,  otherwise  you 
will  add  color  to  thicken  the  oil  or  oil  to  thin  the 
colors,  and  in  case  you  have  succeeded,  this  ex- 
perimenting will  require  repeating  and  you  are 
never  sure  of  obtaining  the  desired  result. 

All  details  in  china  painting,  no  matter  how 
small,  are  worthy  of  consideration. 

Keep  a  memorandum  of  your  success  and 
failures,  to  which  you  can  refer  in  emergency 
with  greater  confidence,  it  being  your  own  actual 
experience,  with  its  trials,  and  the  final  success, 
which  has  secured  to  you  the  independance  of 
working  alone,  untrameled  by  doubt.  It  is  then 
china  painting  becomes  a  source  of  pleasure  and 
a  pleasant  recreation. 


f!§>  pushes. 

The  number  of  brushes  and  sizes  will  depend 
upon  the  work  in  hand.  Shaders,  Nos.  4  to  8,  will 
include  all  sizes  for  painting.  There  should  al- 
ways be  a  liberal  supply,  as  it  is  not  advisable  to 
stop  painting  in  order  to  prepare  brushes  every 
time  a  different  tint  is  required. 

The  best  arc  the  French  imported  pencils,  man- 
ufactured expressly  for  china  painting.  You  will 
know  them  by  the  indentation  which  surrounds 
the  quill,  near  the  top,  an  extra  precaution  to  pre- 
vent the  brush  from  spreading  and  shedding  hairs, 
which  often  disfigures  the  work,  particularly  in 
figure  painting. 

They  are  superior,  have  fine  points,  carry  the 
color  better,  because  they  are  elastic — this  is  im- 
portant with  china  colors,  which  presents  more  or 
less  resistance  in  proportion  to  the  colors  used, 
consequently  the  brush  should  be  of  a  quality  to 
hold  its  own. 

An  inferior  brush  will  always  slight  the  work 
and  can  never  be  depended  upon.  Accustom  your- 
self  to  large  size  brushes,  when  it  is  practical.  A 
little  experience  will  soon  convince  you  how  easily 


13 


a  broad,  Hat,  even  tint  can  be  obtained  ;  while  with 
the  same  brush,  nicely  pointed  on  your  palette, 
you  are  able  to  produce  the  finer  touches.  Place 
a  handle  in  each  one  and  hold  the  brush  as  far  as 
possible  from  the  point,  to  secure  perfect  freedom 
in  working.  You  will  gain  much  by  making  ex- 
periments and  loose  nothing — try  it. 

Before  putting  brushes  away,  they  must  be  care- 
fully cleaned  with  either  turpentine  or  alcohol, 
thoroughly  dried,  then  dipped  in  oil  (which  keeps 
them  pliable),  smoothed  to  a  point  and  placed  out 
of  the  dust,  always  allowing  for  the  full  length  of 
the  brushes  without  crowding  them.  With  proper 
care,  a  good  brush  will  last  a  long  time. 

Important  precaution.  After  cleaning  brushes 
in  turpentine  alwaj^s  dip  them  in  the  fat,  or  tinting 
oil,  before  using  them  with  color.  Stipplers 
should  be  thoroughly  dried  before  applying  them 
to  color.  The  deer-foot  stippler  can  be  more 
easily  cleaned  by  striking  it  against  the  table,  to 
force  the  turpentine  to  the  surface.  If  left  in  the 
brushes  it  will  cause  the  color  to  spread. 


^uggestiorieS,  with  p\inU  and  (^autions. 


The  most  uniform  light  can  better  be  obtained 
from  a  window  facing  north.  Place  yourself  in 
position  so  as  to  receive  the  light  from  the  left,  as 
you  will  find  it  less  fatiguing  to  the  eyes. 

The  hardness  of  effect  so  often  observed  in  china 
painting  can  frequently  be  attributed  to  the  inju- 
dicious use  of  small  brushes,  and  working  in  a 
room  filled  with  bright  sunlight. 

Always  have  in  mind  the  effect-  you  are  trying 
to  produce  when  the  article  is  completed.  This 
will  cause  you  to  be  more  exacting  and  cautious 
with  your  painting.  Success  depends  very  much 
upon  deciding  what  is  required,  and  doing  it  to 
the  best  of  your  ability. 

The  shadow  tints  are  only  intended  to  deepen 
the  foundation  color,  without  loosing  it  entirely, 
and  should  not  be  laid  on  too  heavy,  as  they 
darken  in  firing. 

High  lights.  The  white  china  is  often  substi- 
tuted, while  it  is  preferable  to  apply  a  thin  delicate 
wash  of  the  local  tint  (this  does  not  refer  to  white 
flowers)  to  keep  the  painting  more  uniform,  and 
also  hide  the  glaze  of  the  china. 


15 


The  mixing-  of  white  with  colors  often  produces 
a  chalky  effect  after  firing-,  and  is  not  recom- 
mended. 

For  high  lig-hts  use  Aufsetzweis'  Relief,  to  be 
reserved  for  the  last  firing.  This  precaution  will 
apply  to  all  enamel  and  jewel  work. 

Flux  unites  the  colors  with  the  glaze  of  the 
ware.  If  you  can  depend  upon  rose-color  heat  in 
firing,  which  bring-s  carmines  and  gold  to  perfec- 
tion, then  it  is  not  necessary  to  flux  colors,  with 
only  a  few  exceptions,  unless  the  painting  colors 
are  required  for  backgrounds,  upon  French  and 
German  china,  particularly  La  Croix  carmine, 
Nos.  i  and  2,  capucine  red,  carnation,  deep  red- 
brown,  olive  green,  brown-green,  apple  green,  and 
pearl  gray. 

The  proportion  of  flux  necessary  is  one-fourth 
of  any  quantity  and  thoroughly  mixed  with  the 
colors  ;  while,  with  the  soft  paste  English  ware, 
fluxing  is  not  necessary.  It  lightens  the  colors, 
and,  if  not  cautiously  used,  it  will  weaken  and 
destroy  their  brilliancy. 

In  case  the  colors  come  from  the  kiln  dull  and 
without  a  glaze,  they  can  be  restored  by  mixing- 
one  part  of  flux  very  thoroughly  with  three  parts 
of  color,  diluting  with  fresh  turpentine  ;  then  apply 
a  thin  delicate  wash  over  the  design  (with  corres- 
ponding tints),  using  care  not  to  go  beyond  the 
limit  of  the  painting,  as  the  slightest  variation 
will  manifest  itself  upon  the  plain  ware. 

If  mcisture  in  the  kiln  has  produced  the  baked, 
unglazed  appearance  to  the  colors,  so  detrimental 


1 6 

to  a  finished  piece  of  work,  it  is  useless  to  fire  it 
again,  for  the  glaze  has  departed  for  ever. 

The  term  Glazing  implys  the  most  fusible  colors 
reduced  to  transparency  with  mediums  or  flux, 
and  quickly  applied  over  the  tints  to  heighten 
their  brilliancy  in  firing.  The  under-colors  must 
be  without  any  moisture  before  the  glazing  is 
attempted. 

Palette  Knives  should  be  about  three  and  a-half 
inches  long,  highly  tempered,  and  not  too  flexible. 
Horn  knives  are  indispensable  for  mixing  gold, 
white,  relief  paste,  carmines,  purples,  violets  and 
blues.  Those  with  a  knife  edge  soon  warp  and 
break  easily  ;  neither  will  you  select  one  that  will 
not  bend  to  the  touch. 

Erasing  Point. — A  useful  little  instrument  for 
removing  particles  of  dust  from  the  painting. 

Alcohol  Lamp  will  expedite  the  process  of  dry- 
ing the  colors.  You  are  cautioned  against  holding 
the  ware  too  long  in  one  place  ;  keep  it  moving 
constantly  and  cool  slowly  to  prevent  cracking. 
However,  you  do  not  improve  your  colors  by  this 
rapid  process,  and,  unless  time  is  pressing,  let 
your  china  dry  by  exposure  to  the  atmosphere 
only.  A  mixture  of  alcohol  and  turpentine  will 
destroy  your  colors.  Keep  them  separated,  each 
bottle  corked. 

A  small  Rest,  made  of  wood,  18  inches  long, 
inches  wide,  supported  at  each  end  with  blocks 
high  enough  to  admit  of  a  plaque  underneath, 
will  be  found  a  useful  addition  to  a  "  working  out- 


17 


fit,"  particularly  when  the  hand  is  unsteady  while 
painting-  or  gilding. 

Pumice  Stone  removes  roughness  after  firing. 
By  first  placing  the  stone  in  water,  then  with  a 
circular  motion  gently  grind  the  decoration  until 
it  feels  smooth  to  the  touch.  You  can  easily  abuse 
this  process  and  destroy  your  painting,  if  every 
stage  of  the  work  is  not  carefully  watched,  and  a 
sufficient  quantity  of  water  used  to  keep  the  stone 
from  scratching.  Select  one  having  a  fine  even 
grain  and  a  flat  surface  on  one  side  at  least.  It 
should  never  come  in  contact  with  gold,  or  be 
used  after  the  last  firing. 

Hydrofluoric  Acid  is  used  in  factories  for  re- 
moving color  from  china,  and  also  to  prepare  it 
for  raised  designs  (called  etching  on  gold).  Its 
fumes  are  so  destructive  to  the  glaze  of  the  ware, 
it  is  necessary  to  dip  the  article  into  paraffine  ; 
when  cool  expose  only  the  decoration  or  part 
to  be  taken  out.  The  acid  comes  in  gutta-percha 
bottles.  Its  eating  propensities  compel  this  pre- 
caution. It  is  applied  to  the  ware  with  small 
tapered  sticks  ;  if  the  surface  is  large,  wrap  them 
with  two  layers  of  soft  cotton  cloth  well  secured. 
Allow  the  water  to  flow  over  it  often  during  the 
process,  to  enable  you  to  see  how  the  work  is  pro- 
gressing. Keep  the  bottled  corked,  as  its  perni- 
cious fumes  are  poisonous  ;  and  do  not  allow  the 
acid  to  get  upon  your  fingers,  the  pain  will  be 
extreme — wear  gloves. 

While  amateurs  are  ambitious  to  undertake 
everything  pertaining   to   china  painting,  they 


i8 

should  leave  this  branch  to  professional  decorators, 
and  it  will  be  more  economical  and  satisfactory 
in  the  end,  to  correct  errors  by  duplicating  the 
china  and  redecorate  it. 

The  terms  used  to  express  the  two  degrees  of 
heat  required  for  over-glaze  painting  are  :  "  Rose 
color,"  for  gold,  carmines  and  purple  ;  "  Regular 
kiln,"  a  cherry  heat  that  glazes  all  other  colors,  if 
the  kiln  fires  with  an  even  temperature. 


preliminary  to  (§^hina  f©iHng. 


Even  with  a  thorough  knowledge  of  every 
requisite  necessary  to  make  it  a  success,  it  is  not  a 
sufficient  guarantee  against  occasional  failures 
and  many  disappointments. 

You  may  be  courageous  with  your  brush  and 
colors,  attempting  difficult  subjects  for  decoration 
withal,  when  the  ware  is  enclosed  for  the  final  test 
by  fire,  your  anxiety  begins,  lasting  until  the 
china  is  drawn  from  the  kiln,  and  every  piece  is 
carefully  inspected. 

The  convenience  and  cleanliness  of  gas  kilns 
cannot  be  over-estimated :  always  ready  and 
easily  managed,  the  various  sizes  and  prices  mak- 
ing it  possible  for  all  amateurs  to  do  their  own 
firing,  which  will  have  a  tendency  to  encourage 
many  experiments,  resulting  in  more  rapid  ad- 
vancement in  the  art. 

Many  useful  hints  upon  the  subject,  and  the 
temperature  required  for  the  different  colors, 
will  oe  fully  treated  upon  in  the  following  chap- 
ters, and  should  be  considered  thoroughly  before 
attempting  the  responsibility  of  firing. 


20 


Colors  and  gold  must  be  free  from  dust  and 
perfectly  dry  before  placing  them  in  the  kiln.  If 
a  brown  discoloration  appears,  caused  by  drying 
in  the  oven  or  over  an  alcohol  lamp,  it  will  dis- 
appear in  the  firing. 

In  your  solicitude  to  have  the  decoration  free 
from  blemishes,  do  not  forget  to  look  at  the  back 
of  your  plate  to  discover,  possibly,  a  paper  label, 
the  dealer's  price-mark  in  ink,  or  spots  of  color, 
which  should  be  removed  and  the  surface  left 
scrupulously  clean  before  submitting  it  to  the  kiln. 

If  a  background  has  been  applied,  and  a  gold 
edge  is  required,  the  color  can  be  expeditiously 
removed  by  placing  a  soft  cloth — one  thickness — 
over  the  right  thumb,  and  forcing  the  nail  upon 
the  ware,  turning  the  plate  with  the  left  hand  ; 
if  the  color  is  moist,  a  clean,  even  edge  will  pre- 
sent itself  with  little  difficulty.  The  same  ma- 
nipulation can  be  applied  to  cups  and  all  edges 
where  a  narrow  line  is  desired. 

If  the  gold  or  colors  have  been  wrapped  in 
cotton,  remove  the  lint  by  rolling  instead  of  pick- 
ing it  off,  with  the  finger  slightly  moistened. 
Avoid  placing  anything  in  the  kiln  that  will 
endanger  the  success  of  your  firing, 

And,  above  all,  dampness  (where  kilns  are 
placed  in  poorly-ventilated  cellars  or  basements) 
will  prevent  the  colors  from  glazing,  and  nothing 
will  escape  its  injurious  effects. 

Stacking  the  kiln  requires,  not  only  judgment 
but  considerable  management,  to  have  it  full,  yet 


21 


not  over-crowded.  Trays,  plates,  and  large  dishes 
should  be  fired  in  an  upright  position,  with  stilts 
between,  to  prevent  touching,  and  not  allowing 
the  ware  to  rest  against  the  iron  pot,  as  it  may 
produce  discolorations  resembling  iron  rust  upon 
the  surface. 

All  plates  under  nine  inches  can  be  safely  piled 
with  three  stilts  between  each.  Saucers,  small 
trays,  etc.,  can  be  arranged  in  the  same  manner, 
placing  the  colors  requiring  the  strongest  fire  at 
the  bottom  ;  fill  in  the  intervening  spaces  with 
small  pieces,  cups,  vases,  etc.  If  they  are  not 
edged  with  gold,  place  a  small  sauce-plate  over 
them,  and  other  pieces  can  be  added  with  safety. 

If  a  large  vase  or  jardinier  covers  the  lower 
part  of  the  kiln,  you  can  economize  the  space  by 
filling  it  with  small  cups,  trays,  etc.,  using  plenty 
of  stilts,  to  separate  them.  If  the  edge  is  flat, 
place  a  plate  upon  the  top,  upon  which  other 
articles  can  be  piled.  Pitchers  can  be  filled  with 
butter-plates ;  a  small  bonbonnier  can  be  fired 
within  a  larger  one,  and  the  covers  placed  on 
each.  Every  part  of  the  kiln  can  be  utilized  in 
this  way. 

A  Wisp  Broom  vigorously  applied  to  the  sides  of 
the  firing-pot  and  cover  will  protect  the  ware  from 
the  small  particles  of  dust  which  are  liable  to 
settle  upon  the  colors  during  the  process  of  firing. 

Never  use  a  damp  cloth  for  cleaning  the  kiln, 
particularly  if  you   intend  stacking  and  firing 


22 


immediately  afterwards,  as  there  is  a  risk  of  crack- 
ing the  firing-pot,  besides  destroying  the  glazing 
qualities  of  your  colors. 

A  few  reasons  why  breakages  occur  :  heating 
and  cooling  the  kiln  too  rapidly  ;  over-crowding 
the  kiln  ;  not  using  enough  stilts  to  keep  the 
plates,  etc.,  from  slipping  and  pressing  against 
other  pieces  of  china,  which  will  either  crack  or 
break  them, 

Or  by  the  closest  calculation,  a  large  dish  or 
placque  has  been  fitted  into  a  small  kiln,  leaving 
no  space  for  the  expansion  and  contraction  in 
firing;  under  these  circumstances  a  breakage  can 
generally  be  depended  upon. 

Particles  of  sand  that  cannot  be  observed 
through  the  glaze  of  the  ware,  but  are  embedded 
in  the  "bisquit,"  will  cause  a  plate  to  separate  in 
many  pieces. 

Firing  large  trays, '  etc.  flat,  instead  of  in  an 
upright  position,  will  cause  disasters  that  can  be 
guarded  against. 

To  ascertain  the  exact  temperature  and  firing 
qualities  of  your  kiln,  apply  carmine  to  several 
pieces  of  broken  bits  of  china,  and  in  stacking, 
place  these  tests  in  the  different  parts  of  the  kiln. 

On  examination  of  these  pieces  after  firing, 
make  a  careful  memorandum  of  the  localities 
where  the  color  has  developed  the  most  satisfac- 
tory, and  you  are  ready  for  all  future  emergencies. 

A  similar  test  for  gold  will  render  valuable 
information  for  firing  this  precious  metal  properly. 


f©a  (§>oix  (f^namcl  ^cIcps 

AND  THEIR  COMBINATIONS 

Arc  more  or  less  effected  by  the  iron  in  their 
composition,  and  to  avoid  mistakes,  a  classification 
of  the  colors  will  be  given  : 

First — Colors  without  iron. — Blues,  white,  and 
the  gold  colors,  which  are  carmines,  purples  and 
violet. 

Second — Colors  containing  very  little  iron. — 
The  greens  and  yellows  (jonquil  and  mixing- 
yellows  are  the  exceptions,  as  they  contain  no 
iron.) 

Third — Colors  whose  base  are  iron. — The  flesh 
tints,  browns,  reds,  violet  of  iron,  yellow  brown, 
ochre  and  black. 

While  the  iron  colors  harmonize  with  each  other, 
they  destroy  the  purity  of  the  gold  colors  when 
mixed  with  them. 

A  test  tile  or  plate  is  very  useful  for  reference, 
but  should  be  reserved  until  you  are  able  to  com- 
bine colors  with  some  degree  of  certainty,  instead 
of  having  it  an  experiment  only. 

There  is  so  much  to  be  considered  in  the  early 
stages  of  china  painting,  it  would  be  difficult  as 


24 


well  as  impossible  to  understand  it  all  at  once. 
Progress  slowly,  is  a  sure  guide  to  success  in  all 
branches  of  art. 

Set  your  palette  with  only  the  necessary  colors, 
and  when  not  in  use  cover  it  from  the  dust — an 
enemy  to  china  painting.  Study  carefully  the 
proportion  of  color  to  be  applied  to  withstand 
the  reducing  effects  of  firing.  Clear,  dry  weather 
is  much  better  for  painting  and  tinting,  while 
dampness  retards  the  work,  making  it  almost  im- 
possible to  lay  the  colors  smoothly. 

Some  of  the  La  Croix  colors — particularly  old 
blue — contain  such  a  preponderance  of  oil,  the  color  t 
seems  to  have  been  forgotten  altogether.  It  is 
better,  however,  to  persevere  until  the  solid  color 
appears  upon  the  palette.  While  it  would  seem 
disastrous  to  add  more  oil,  is  should  be  mixed  in 
the  regular  way. 

On  opening  the  tubes,  which  seem  pliable  while 
the  color  appears  encrusted  upon  the  top,  insert  a 
pin  to  ascertain  its  exact  condition  before  squeez- 
ing the  tube  out  of  shape,  and  causing  it  to  open  at 
the  wrong  end. 

But  if  the  color  has  become  hardened,  cut  the 
tube  open,  remove  its  contents  to  a  tile  ;  add 
tinting,  oil,  and  turpentine,  and  re-grind  the  color 
with  the  muller,  then  place  it  away  from  the  dust. 

The  very  reasonable  prices  asked  for  tube 
colors  should  discourage  the  above  tedious  pro- 
cess, confining  it  to  the  more  expensive  colors 
only. 


25 


By  turning-  the  tubes  often,  this  result  can  in 
part,  be  obviated.  Carefully  observe  all  of  these 
preliminary  precautions  as  they  will  be  of  prac- 
tical use  to  you. 

The  La  Croix  colors  will  now  follow,  and  to 
"  make  assurance  doubly  sure  "  for  amateurs, 
treatments — in  addition  to  those  already  given 
with  the  Matt  colors — will  be  adapted  to  flowers, 
showing  how  they  can  be  practically  applied,  and 
as  colors  present  the  greatest  obtacles  to  china 
painters,  details,  and  even  a  repetition  of  them, 
may  be  deemed  necessary  to  more  clearly  explain 
their  possibilities. 

Dresden  Aufsetzweis,  in  tubes  or  powder,  is  a 
more  reliable  mixing  white  than  either  of  La 
Croix's  Permanent  or  Chinese  white,  which  are 
liable  to  chip  off,  and  turn  yellow  in  firing.  It  is 
used  alone  for  touches  on  white  flowers  and  dra- 
peries, and  mixed  with  all  light  colors,  to  heighten 
their  tones,  in  about  the  same  proportion  that 
white  is  used  with  oil  colors.  It  will  not  take 
the  place  of  enamel  white  for  raised  jewel  effects, 
as  it  is  opaque,  and  does  not  fire  with  a  high  trans- 
parent glaze.    Do  not  use  it  in  excess. 

Light  Sky  Blue,  highly  fluxed, — An  excellent 
color  for  glazing  grays  to  mix  with  other  blues 
which  are  poor  in  flux,  such  as  victoria,  ultra- 
marine, and  dark  blue  ;  a  soft  color  for  back- 
grounds. 

Sky  Blue. — A  good  mixing  blue. 

Dark,  Victoria,  and  Deep  Blue  are  all  used  for 
flower  painting  in  connection  with  ruby  purple. 


26 


Different  tints  of  lavender  and  purple  are  secured 
for  pansies,  wisteria,  lilacs,  etc.,  using  more  or  less 
of  each  color  in  proportion  to  the  tints  required. 

Deep  Ultramarine. — Flux  one-fourth  ;  a  delicate 
blue  for  blue  bells,  forget-me-nots,  etc.,  shading 
with  common  blue,  with  a  touch  of  ruby  purple 
added. 

Old  Blue,  grounding  color,  requiring  two  layers 
and  the  same  number  of  firings.  Very  effective 
for  monochrome  painting,  afterwards  to  be  treated 
with  gold.  The  blues  mix  with  purple,  greens, 
browns,  black  and  yellows,  but  not  with  reds. 
The  lightest  shade,  sky  blue  ;  medium,  victoria, 
darkest,  deep  blue.  They  require  a  regular  kiln 
fire  and  change  very  little. 

Browns  are  all  soft  colors. — They  mix  with  all 
greens,  black,  purple,  red  and  carmines,  and  not 
with  yellows. 

Yellow  Brown,  an  excellent  color  for  softening 
greens  to  be  used  as  a  foundation  tint  for  leaves, 
and,  as  it  fires  lighter  than  ochre,  it  is  preferable 
for  flower  painting.  Very  thinly  applied  over 
lavenders  and  blues  softens  them,  and  will  not 
turn  green  in  firing. 

Brown  No.  4,  a  deep,  rich,  reliable  color  ;  glazes 
highly.  Desirable  for  monochrome  painting.  A 
good  mixing  color  with  dark  green  No.  7,  for 
leaves  and  stems,  and  for  solid  coloring  on 
handles,  etc. 

Sepia — poor  in  flux,  add  one-fourth  to  it.  Used 
same  as  brown  No.  4. 


27 


Deep  Red  Brown,  for  shading  and  finishing 
red  flowers,  is  dark,  rich  in  color,  making  a  very 
complimentary  background  for  gold  decorations. 
If  used  delicately  for  ground  laying,  it  should  be 
fluxed  one-fourth,  otherwise  it  will  rub  off*  after 
firing.    It  glazes  highly,  if  used  full  strength. 

A  pleasing  combination  in  reds,  and  one  which 
presents  no  difficulties  for  amateurs,  is  to  lay  on  a 
grounding  tint  of  carmelite,  fluxed  one-fourth,  be- 
ginning with  full  strength  at  the  bottom  of  the 
vase,  graduating  and  loosing  the  tint  at  the  top. 
When  dry,  sketch  in  a  graceful  open  design  of 
drooping  palm  leaves,  which  are  laid  in  with  car- 
nation No.  2  for  the  foundation  color  and  shaded 
with  deep  red-brown;  the  same  color  placed  solidly 
upon  the  handle,  and  then  outline  the  leaves  and 
stems  with  brown  No.  4.  Give  a  strong  fire. 
Afterwards  treat  the  decoration  with  radiating 
dashes  of  hard  gold.  The  background  and  handle 
writh  cloudings  of  gold,  and  the  top  of  the  vase  to 
be  edged  with  matt  gold.    Regular  kiln  fire. 

Combination  of  reds  for  nasturtions. — The 
lightest  foundation  is  orange  red  ;  shade  with 
capucine,  and  finish  with  deep  red-brown.  For 
rich  colorings  :  foundation — capucine  ;  shading — 
deep  red-brown.  Centers — orange  yellow,  shaded 
with  brown-green.  Yellow  flowers — silver  yellow 
shaded  with  orange  yellow,  blended  into  carnation 
No.  2.  Darkest  blossoms — violet  of  iron  shaded 
with  orange  yellow  and  brown-green  No.  6. 

Carmines  are  the  test  colors  for  all  kilns.  If 
short  fired,  they  will  develop  into  a  yellow-red.  If 


2S 

fired  too  strong,  a  violet  tint  will  be  the  result ;  and 
they  will  chip  off,  and  turn  yellow,  if  laid  on  too 
heavy. 

English  Pink  is  considered  by  decorators  to  be 
more  reliable,  while  if  carmines  are  properly 
treated  and  fired  rose-color  heat,'  will  always  be 
satisfactory. 

Carmine  No.  i  is  used  for  the  foundation  color 
of  pink  flowers,  shading  with  carmine  No.  2.  If 
thinly  applied  for  backgrounds  add  one-fourth  flux. 
They  mix  with  blues,  purple,  black,  greens  and 
mixing  yellow. 

Grays  are  all  poor  in  flux  and  require  one- 
fourth,  or  they  can  be  glazed  with  other  colors. 

Light  Gray,  No.  1  will  not  mix  with  colors  and 
is  a  good  shading  gray  for  very  white  flowers  : 
Easter  lilies,  lily  of  the  valley,  etc.,  but  not  to  be 
used  over  pink  or  yellows.  Gray  No.  2,  a  darker 
shade  of  gray. 

Pearl  Gray. — Soft  grounding  gray  cannot  be 
used  in  iiower  painting.  Equal  parts  of  pearl  and 
neutral  gray,  adding  a  touch  of  chrome  green — a 
good  flesh  gray  is  obtained. 

Neutral  Gray. — A  mixing  gray,  and  is  the  only 
gray  that  mixes  with  all  blues.  It  combines  with 
all  other  colors,  excepting  yellows  and  reds.  It  is 
the  darkest  gray  and  is  very  useful  in  marine 
painting,  and  for  fish  and  sea  weeds  in  combina- 
tion with  sky-blue. 

A  thin  wash  of  brown  or  olive  green,  over 
purple  flowers,  produces  a  soft  gray. 


29 


Dark  Green  No.  7,  delicately  applied  over  red 
flowers  softens  their  color  into  gray. 

A  beautiful  Silver  Gray,  useful  in  fish  painting, 
is  composed  of  three  parts  of  sky  blue,  to  one  part 
of  neutral  gray. 

The  Shading  Gray,  for  pink  and  white  flowers, 
are  equal  proportions  of  apple  green  and  carmine 
No.  2,  mixed  thoroughly  into  a  soft  gray,  and  ap- 
plied delicately. 

Gray  Shading  for  yellow  flowers. — Two  parts  of 
yellow-brown,  one  part  of  brown-green  No.  6, 
with  only  a  touch  of  ruby  purple,  thoroughly 
mixed.  This  is  the  only  reliable  combination  for 
grays  that  will  stand  on  yellows  and  not  fire  off. 
Grays  lose  their  strength  in  firing,  and  should  be 
applied  strongly.    Regular  kiln  fire. 

Silver  Yellow,  medium  shade. — Used  for  fruit 
painting  and  yellow  flowers. 

Ivory  Yellow. — Soft  tint  for  grounding,  if  used 
very  thinly.  Fire  only  once,  as  it  is  liable  to 
darken.  It  is  a  good  glazing  yellow  for  skies, 
fruit  and  landscape. 

Jonquil  Yellow. — A  good  mixing  yellow  with 
all  light  greens.  An  excellent  foundation  color 
for  chrysanthemums,  first  shading  silver  yellow, 
second  shading  orange  yellow. 

Yellow  for  Mixing. — Used  to  lighten  greens  and 
for  glazing  carmines,  to  warm  and  soften  them, 
applied  very  thinly.    Will  not  mix  with  reds. 

Orange  Yellow.  —  Hard,  strong  color.  If  laid 
too  heavy  will  scale  in  firing.  Mixes  with  reds 
and  carnations  to  obtain  the  rich  colorings  in  nas- 


30 


turtions,  with  browns  and  ochre,  but  not  with 
greens,  as  it  inclines  them  to  brown. 

Dark  Ochre,  for  Landscape  and  animal  painting-. 

Yellow  Ochre. — Used  for  backgrounds  ;  mixes 
with  greens,  browns  and  purple.  The  lightest 
shade  of  yellow  is  jonquil  ;  medium,  silver  yel- 
low ;  darkest,  orange  yellow.  For  outlining  flow- 
ers with  this  combination,  use  brown  No.  4,  with 
a  touch  of  ruby  purple  added.    Regular  kiln  fire. 

Ruby  Purple. — Strong  color,  and  excellent  for 
strengthening  greens  for  shading,  also  for  mixing. 
Lavender  tints  are  secured,  by  taking  one  part  of 
ruby  purple,  three  parts  of  victoria  blue,  with  one 
part  of  flux,  well  mixed.  Vary  the  proportion 
according  to  the  shade  required.  Ruby  purple 
should  be  laid  very  thinly  for  grounding,  and  a 
stiong  firing  will  bring  it  out  a  rich  crimson  color. 
If  a  darker  tint  is  desired,  give  two  layers  and  fire 
twice. 

Purple  No.  2. — A  very  soft,  pretty  color  for 
flower  painting,  not  brilliant.    Regular  kiln  fire. 

Capucine  Red  is  the  richest  and  most  beautiful 
of  all  the  reds.  A  satisfactory  color  in  every  par- 
ticular. Fires  with  a  high  gloss,  and  is  used  as  a 
foundation  color  for  poppies,  trumpet  blossoms, 
geraniums,  etc.  Its  shading  color  is  deep  red- 
brown.  Gray  shading — a  thin  wash  of  dark  green 
No.  7,  laid  over  the  colors  very  delicately.  If  used 
for  backgrounds  flux  one-fourth  when  a  delicate 
tint  is  required,  which  should  not  be  added  if  the 
color  is  used  with  full  strength.  It  combines  with 
orange  yellow,  for  nasturtions. 


3i 


Carnations  are  a  pink-red  in  color  and  sometimes 
substituted  for  carmines.  They  cannot  be  used  for 
the  pure  delicate  pink  seen  in  wild  roses,  yet,  for 
many  flowers,  they  will  be  found  reliable,  as  they 
change  very  little  in  firing.  If  laid  very  thin  for 
light  effects  in  painting  and  grounding,  add  one- 
fourth  flux,  otherwise  they  will  rub  off.  For  flesh 
tints,  add  a  touch  of  ivory  yellow  to  carnation 
No.  2. 

For  Poppies  :  foundation — carnation  No.  2,  when 
perfectly  dry,  shade  with  orange  red,  and  deep  red- 
brown  for  deepest  shadows.  For  gray  effects — 
a  thin  wash  of  dark  green  No.  7.  The  centers — 
apple  green,  and  the  markings — violet  of  iron. 
After  firing  strengthen  the  carnation  with  capu- 
cine  red,  the  shadows  with  deep  red-brown. 

For  Pink  Flowers,  use  carnation  No.  1  for  foun- 
dation color,  shading  with  carnation  No.  2.  They 
mix  with  browns  and  ochre  and  all  reds,  ivory 
yellow,  orange  yellow,  but  not  with  mixing  yellow. 

Orange  Red. — Very  rich  and  brilliant,  used  in 
fruit  painting,  for  red  nasturtions,  chrysanthe- 
mums, and  trumpet  blossoms,  etc.  Shade  with 
capucine  red  ;  second  shading — deep  red-brown. 
Vary  the  tints  and  use  the  orange  red  cautiously. 

Japan  Rose. — A  soft  pink  grounding  color. 
Apply  delicately.  The  lightest  color  in  reds  is 
orange  red ;  medium,  capucine ;  darkest,  deep 
red-brown.    Regular  kiln  fire. 

Ivory  Black. — A  strong  shading  color,  and  also 
for  mixing.  German  black,  deeper  in  tone  and 
<ires  with  a  higher  glaze  for  solid  handles,  and,  for 


32 


outlining-  on  gold,  is  more  reliable.  If  over-fired, 
comes  from  the  kiln  blue.  If  not  fired  enough, 
like  all  other  colors,  is  unsatisfactory,  and  the 
glaze  will  be  difficult  to  restore.  Mixes  with  all 
dark  colors,  and  for  strong  touches. 

Greens  change  very  little  in  firing  and  are  the 
first  colors  to  glaze,  requiring  regular  kiln  fire. 

Grass  Green. — A  good  glazing  color  for  greens, 
and  combines  with  mixing  yellow  for  leaves. 

Brown-Green. — Shading  green  for  leaves. 

Dark  Green  No.  7. — The  darkest   green  for 

shading  dark  leaves. 

Deep  Blue-Green.  —  A  very  useful  color  and 
not  green,  as  its  name  implies,  but  a  pretty,  soft 
blue,  for  forget-me-nots  and  blue  flowers.  It 
modifies  greens  and  is  used  in  distant  effects  in 
foliage,  for  the  soft  color  on  the  underside  of  rose 
leaves,  and,  if  used  delicately,  for  backgrounds  ; 
flux  it  one-fourth.  It  mixes  with  all  greens  and 
carmines  and  glazes  highly. 

Emerald  Stone  Green. — A  strong  body-color 
green  for  heavy  effects  in  pond-lily  leaves,  etc. 
Will  not  mix  with  yellows,  but  with  all  strong 
greens,  such  as  dark  green  No.  7,  olive  green, 
brown-green  No.  6,  and  duck  green,  producing  a 
shading  green  which  enriches  green  leaves. 

Chrome  Green  B. — A  very  decided  green,  used 
for  strong  touches,  and  is  modified  with  other 
greens,  browns,  and  ochre. 

Deep  Chrome  Green. — Useful  in  painting  leaves, 
for  glazing  fish  and  fruit,  producing  transparency 
over  blues,  purple,  browns  and  black. 


33 


Apple  Green. — Excellent  mixing  green  with 
silver  yellow  and  jonquil  yellow  for  yellow  greens  ; 
with  carmine  No.  2  and  deep  chrome  green  for 
distant  leaves  in  flower  painting  ;  with  carmine 
and  purple  for  hazy  atmospheric  effects  in  land- 
scape ;  for  the  green  center  of  flowers ;  with  car- 
mine No.  2  for  gray  shading  ;  for  pink  and  white 
flowers,  and  mixes  with  all  greens — the  lightest 
apple  green,  medium  chrome  green  ;  darkest, 
dark  green  No.  7. 

Violet  of  Iron. — An  indispensible  color  for 
shading  carnations,  for  tips  of  leaves,  for  rose 
stems  and  thorns,  and  for  Autumn  leaves.  It  can 
be  blended  with  greens  but  not  over  them.  Ex- 
cellent for  outlining,  and  very  useful  for  sea- 
weeds. Combines  with  dark  brown,  reds,  black 
and  purple. 

Gray  Violet  of  Iron  for  landscape  painting.  It 
is  a  pinkish  gray  for  distant  foliage. 

Deep  Violet  of  Gold,  in  combination  with  ruby 
purple  and  victoria  blue,  produces  the  rich,  dark 
velvety  coloring  in  pansies  ;  for  violet  tints,  mix 
with  blue,  and  apply  delicately.  Mixes  with 
purple,  greens,  brown  and  black. 

The  Grounding  Colors,  if  applied  delicately, 
require  fluxing  one-fourth.  They  are  all  pleasing 
in  color,  and  the  selection  will  depend  upon  the 
decoration  to  be  applied  over  them. 

Pink  Clovers. — Apply  a  delicate  wash  of  ruby 
purple  for  the  first  painting,  shade  and  trace  the 
markings  with  the  same,  full  strength. 


34 


Light  Shading  Tint. — A  mixture  of  yellow- 
ochre  and  ivory  yellow. 

Gray  Shading. — Carmine  No.  2  and  apple  green, 
equal  parts. 

Green  Touches. — Chrome  green  B.  When  dry, 
glaze  the  entire  blossom  with  carmine  No.  2,  add- 
ing a  touch  of  apple  green. 

Distant  Clover. — Foundation — a  mixture  of  yel- 
low ochre  and  carmine  No.  2,  shading  with  apple 
green  and  carmine  No.  2.  For  the  purple  effect 
on  the  blossom,  mix  victoria  blue,  ruby  purple 
and  apple  green  into  a  soft  gray,  shading  with  the 
same  very  delicately. 

White  Clovers.  —  Foundation  —  mixing  yellow 
and  apple  green,  strengthened  into  yellow  ochre 
and  violet  of  iron,  on  the  lower  leaves,  and 
shading  with  apple  green  and  carmine  No.  2, 
leaving  the  china  for  the  lights.  Leaves — chrome 
green  B,  with  a  little  yellow-brown,  leaving  the 
center  marking  plain  china.  Light  leaves — grass 
green  and  mixing  yellow.  Olive  leaves — brown- 
green  No.  6,  shading  with  the  same,  adding  dark 
green  No.  7.  When  dry,  apply  a  thin  wash  of 
apple  green  over  the  dark  leaves,  adding  mixing- 
yellow  for  the  lighter  leaves.  This  glazing  tint  to 
be  used  for  filling  in  the  marking  left  in  each 
leaf  ;  finish  with  touches  of  Aufsetzweis  for  the 
high  lights. 

Morning  Glorys  offer  such  a  variety  of  beautiful 
colorings,  a  treatment  of  them  will  be  found  very 
useful  for  combinations. 


35 


Crimson  Flower. — Foundation  —  purple  No.  2, 
very  delicately  applied,  shaded  with  ruby  purple, 
which  is  also  used  for  the  stripes.  Center — mixing- 
yellow,  shaded  with  brown-green. 

Pink. — Thin  wash  of  carmine  No.  1,  shaded  with 
two  parts  of  carmine  No.  2  to  one  part  of  No.  1. 
Stripes — carmine  No.  2.  Gray  shading- — equal 
parts  of  apple  green  and  carmine  No.  2.  Centers 
are  all  treated  the  same. 

Blue. — Delicate  wash  of  victoria  blue.  First 
shading — one  part  of  ruby  purple  with  three  parts 
of  victoria  blue.  Second  shading — brown-green. 
Stripes — victoria  blue. 

Lavender.- — A  pale  wash  of  three  parts  of  vic- 
toria blue  to  one  of  ruby  purple.  Shading  and 
stripes  with  the  same,  full  strength.  Last  shading 
next  to  the  center — brown-green. 

Light  Distant  Blue  Flowers. — Same  colors  as 
above  for  foundation,  very  delicately  applied, 
shading  with  apple  green  and  carmine  No.  2. 

White  Flowers. — A  very  thin  wash  of  mixing 
yellow  on  the  shadow  side  of  the  flower.  Stripes 
and  foundation — carmine  No.  1,  shaded  with  No.  2. 
Gray  shading  for  flower — carmine  No.  2  and  apple 
green,  equal  parts,  which  is  laid  on  after  the  foun- 
dation colors  are  dry  (this  applies  to  all  shading). 
High  lights — Aufsetzweis  relief.  Buds  treated  in 
the  same  manner. 

Leaves. — Foundation — grass  green,  adding  very 
little  mixing  yellow  with  it,  and  applied  very 
thinly.  First  shading — three  parts  of  brown-green 
No.  6  with  one  part  of  dark  green  No.  7.  Second 


36 


shading — same  colors,  only  applied  full  strength. 
Light  leaves — same  color  for  foundation  tint, 
shading  with  apple  green  and  carmine  No.  2. 
Large  stem — violet  of  iron,  with  the  addition  of 
a  little  brown-green  No.  6  and  dark  green  No.  7 
added,  shading  with  the  same.  Under  part  of  the 
large  leaves — mixing  yellow  and  grass  green  ; 
upper  part — dark  green  No.  7,  with  chrome  green 
B,  mixed,  and  shaded  with  dark  green  No.  7  and 
brown-green  No.  6.  Delicate  gray  distant  leaves — 
apple  green  and  yellow-brown. 


©ireetions  for  [fixing 


THE  OSGOOD  ART  SCHOOL  ROYRL  WORCESTER,  MATT 
JLND  BRONZE  COLORS. 

The  colors  used  for  Royal  Worcester  and  Doul- 
ton  decorations  are  specially  manufactured  for  the 
purpose.  The  matt  colors  fire  without  a  glaze. 
The  bronze  colors  are  semi -glazed,  like  the  Doul- 
ton  decorations.    They  work  well  together. 

The  number  of  colors  required  will,  of  course, 
depend  upon  the  ability  of  the  china  painter.  It 
is  needless  to  say,  that  the  progress  and  success 
of  the  work  can  be  more  rapidly  accomplished  by 
having,  in  the  beginning,  all  necessary  materials. 

The  following  limited  list  of  colors,  with  their 
combinations,  will  comprise  a  complete  palette  for 
producing  all  of  the  beautiful  coloring  found  on 
the  Royal  Worcester  and  Doulton  decorations  : 

Matt  Dry  Red  (dark  red). — A  shading  red. 
Mixes  with  reds  but  not  with  other  colors. 

Matt  Purple. — A  beautiful  color.  By  dilution 
very  delicate  tones  are  obtained.  Add  a  little 
light  blue  for  the  different  tints  of  lavender.  It 
will  mix  with  blues,  browns,  grays,  greens. 
Shade  with  same,  full  strength. 

Matt  Violet. — Shade  with  purple.  For  darkest 
shadows  use  yellow-brown  and  bronze  green  No. 
i.    Mixes  the  same  as  purple. 


3« 


Matt  Light  Blue. — Always  use  separate  brushes 
for  blues,  to  secure  the  purity  of  color.  Mixes 
with  purple,  brown,  black,  deep  blue,  and  pink. 

Matt  Turquois  Blue. — Is  used  for  flower  paint- 
ing-.   Mixes  with  the  same  colors  as  light  blue. 

Matt  Paris  Blue. — A  beautiful  grounding  color 
for  raised  gold  work. 

Matt  Deep  Blue. — Used  generally  for  shading. 

Matt  Olive  Green. — A  strong  excellent  mixing 
green  for  flower  painting.  Mixes  with  purples, 
browns,  grays  ;  will  shade  with  reds  and  browns. 

Matt  Blue-Green. — Is  used  for  distant  flowers 
and  foliage,  and  should  be  transparently  painted 
if  applied  to  tinted  grounds.  Mixes  with  the 
same  colors  as  olive  green. 

Matt  Dark  Green. — Mixes  with  all  shades  of 
brown,  by  which  the  russet  effects  of  warm 
greens  are  obtained. 

Matt  Light  Yellow-Green. — A  good  local  wash 
for  leaves.  Mixes  with  lemon  yellow  for  light 
green,  and  yellow  brown  for  soft  olive  tints. 

Matt  Yellow- Brown. — Same  as  La  Croix  in  color. 

Mixes  with  pinks,  grays,  greens,  and  purples. 

Matt  Brown  (dark  brown). — Mixes  with  all  col- 
ors, excepting  dark  green  and  black. 

Matt  Lemon  Yellow. — It.  is  the  lightest  of 
yellows,  and  shades  with  gold  yellow.  Mixes 
with  light  green. 

Matt  Gold  Yellow. — Used  for  shading  ;  will  not 
mix  with  other  colors. 

The  Bronze  Colors  mix  and  shade  with  matt 
colors,  used  delicately,  for  painting,  and  full 
strength  for  grounding. 


39 


Matt  Bronze  Pink. — Mixes  the  same  as  matt  pink. 

Matt  Bronze  Salmon. — Royal  Worcester  cream, 
grounding  color  only. 

Matt  Bronze  Lavender. — Mixes  with  pink  and 
light  blue. 

Matt  Bronze  Terra  Cotta. — An  excellent  local 
wash  for  flowers  and  leaves.  Mixes  with  bronze 
pink. 

Matt  Bronze  Celeste. — For  distant  and  delicate 
effects  it  is  very  useful.  Mixes  with  yellow-brown, 
bronze  pink,  grays  and  browns. 

Matt  Bronze  Brown. — Mixes  with  celadon,  terra 
cotta  and  lavender,  pink,  purple,  warm  and  neutral 
gray,  and  all  greens  ;  shades  into  vellum,  and 
produces  the  old  ivory  effect  as  seen  on  Doulton. 

Matt  Bronze  Green  Xos.  i  and  2. — Mixes  with  all 
greens  for  foliage,  and  used  for  shading  leaves, 
same  as  brown-green  No.  6  in  La  Croix's.  Also 
an  excellent  grounding  color  for  raised  gold  work. 

Bronze  Green  No.  1  compares  so  favorably  with 
the  genuine  metal  bronzes,  even  when  the  two 
are  used  upon  the  same  piece  of  china,  makes  it  a 
valuable  acquisition  to  the  color  box,  to  be  substi- 
tuted for  bronze  effects  on  handles,  etc.  After 
firing,  traceries  or  cloudings  of  unfluxed  gold  can 
be  applied  over  it.  If  used  for  bands,  outline  or 
dot  pretty  designs  upon  them  with  relief  paste, 
then  fired,  afterwards  to  be  covered  with  matt 
gold. 

Matt  Bronze  Water  Green. — Is  a  beautiful  trans- 
parent green.  Mixes  with  celadon,  bronze  green 
and  yellow-brown. 


4o 

Bronze  Yellow.- — One  of  the  most  useful  colors 
for  modifying-  greens  for  leaves  ;  it  is  serviceable 
for  flower  painting  and  landscapes.  Mixes  with 
all  greens. 

Matt  Bronze  Vellum. — Used  for  painting  and 
grounding. 

The  Royal  Worcester  Grounding  Colors  can  also 
be  used  for  painting,  and,  as  they  are  semi-glazed, 
are  not  so  easily  defaced  when  applied  to  table 
ware  in  frequent  use.  Matt  colors  can  be  glazed 
into  durability  by  adding  one  part  of  cither 
matt  or  La  Croix  flux,  mixing  thoroughly  with 
four  parts  of  color.  They  will  still  retain  their 
opaque,  soft  effect,  which  can  never  be  confounded 
with  the  high  glaze  of  the  tube  colors,  and  will  add 
another  variety  to  the  decoration  of  china.  They 
will  all  mix  with  La  Croix  colors,  which  glazes  them 
to  a  certain  degree,  and  then  applied  delicately 
over  the  vellum  ground  tint  produces  still  another 
change.  If  outlined  with  paste  and  gold,  two 
firings  are  necessary.  The  La  Croix  colors  used 
pure  and  simple  over  delicate  Royal  Worcester 
ground  tints  gives  a  third  variety,  all  differing  in 
effect  ;  and,  in  case  you  paint  upon  a  ground  tint 
not  previously  fired,  make  due  allowance  for  the 
absorption  of  the  colors,  and  the  reducing  effect 
caused  by  firing.    They  all  require  a  strong  fire. 

All  of  these  colors  can  be  used  for  painting  on 
glass  with  the  addition  of  one-fourth  of  matt  or 
La  Croix  flux  to  three-fourths  of  color. 


4i 


WITH    ROYRL    WORCESTER,     MTT,     BRONZE  MD 
LA   CROIX  COLORS. 

To  render  the  mixing  of  colors  more  explicit 
and  their  application  as  comprehensive  as  possible, 
the  following-  treatments,  adapted  from  the  Osgood 
Art  School  studies,  are  given,  beginning  with  the 
illustration,  "  Orchids."  The  black  and  white 
design  conveys  only  in  part  the  real  beauty  of  this 
plate,  as  it  appears  in  colors,  with  its  soft,  gradu- 


42 


atcd  ground  tints,  from  vellum  into  golden  burr — 
on  the  right — forming'  a  complimentary  back- 
ground for  the  pink  flowers,  with  their  rich  green 
leaves. 

DIRECTIONS    FOR  TREATMENT. 

Sketch  the  design  with  India  ink,  using  a  fine 
brush  for  a  delicate  and  distinct  outline. 

Background. — Bronze  golden  buff,  graduated 
towards  the  center  with  bronze  ivory  vellum,  both 
mixed  thoroughly  with  tinting  oil,  then  thin  with 
turpentine  to  a  consistency  that  flows  readily  from 
the  brush  in  working.  The  painting  colors  are 
mixed  in  the  same  manner.  Apply  the  tint  to  the 
ware  in  broad,  flat  washes.  Blend  with  a  deer- 
foot  stippler,  or  use  a  dabber  made  of  soft  linen 
with  cotton  enclosed. 

When  dry,  cover  the  design  (visible  through 
the  tint)  with  a  thin  coating  of  tar  paste.  After  a 
few  minutes  remove  the  paste  and  color  with 
small  wads  of  cotton  (changing  them  often), 
leaving  the  design  in  white  preparatory  for 
painting. 

Blossoms. — Lay  in  the  three  upper  petals  very 
delicately  with  bronze  pink,  extending  the  color 
down  to  the  green  tint,  which  is  matt  yellow- 
green,  shaded  with  bronze  green  No.  i,  using 
bronze  green  No.  2  for  deep  shadows.  Shade  the 
petals  with  matt  purple,  using  the  color  full 
strength  for  deepest  shadows  ;  and  streaked  with 
with  bronze  pink.  The  pocket  and  stem  are 
washed  in  with  matt  flesh  red,  shading  with  matt 
purple  and  matt  brown. 


43 


Leaves. — Foundation — matt  light  yellow-green 
combined  with  matt  lemon  yellow,  shaded  with 
matt  dark  green  and  matt  yellow-brown  mixed. 

The  brown  effects  in  the  leaves  are  obtained 
by  mixing  matt  light  yellow-green,  matt  yellow- 
brown  and  matt  brown  in  proportion  to  the  tint 
required  ;  shaded  with  matt  dark  green  and  bronze 
green  No  2  mixed,  with  touches  of  bronze  green 
No.  1.  Grasses — bronze  celadon  and  bronze  lav- 
ender mixed  ;  painted  upon  the  vellum  ground. 

When  thoroughly  dry,  outline  the  design  (ex- 
cepting distant  effects)  with  relief  paste. 

Edge  the  ware  with  matt  gold,  which  is  now 
ready  for  the  first  fire  (rose-color  heat). 

Blend  and  stipple  the  ground  tint,  and  trace  the 
distant  flowers  and  leaves  with  hard  gold.  Cover 
the  paste  solidly,  and  retouch  the  edge  with  matt 
gold. 

Strengthen  the  colors  if  necessary.  Fire  the 
second  time.    Polish  with  a  glass  brush. 

The  flowers  and  leaves  only  will  be  treated  upon 
in  the  following  studies.  The  backgrounds  are 
laid  in  with  ivory  vellum,  while  some  of  them  can 
be  graduated  either  into  golden  buff,  bronze  pink 
or  bronze  water  green. 

ORCHID. — In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Orchid. — Local  tint — carmine  No.  1,  laid  very 
delicately  and  softened  with  carmine  No.  2  and 
apple  green  mixed,  graduated  into  mixing  yellow 
and  grass  green  ;  shaded  with  carmine  No.  2  and 


44 


apple  green  ;  shadows  and  stripes — ruby  purple 
laid  lightly. 

Centers. — Carmine  No.  i,  deepened  with  ruby 
purple  and  mixing  yellow,  full  strength  for  shad- 
ows. 

The  Center  of  the  Poehet. — Brown-green  No.  6 
and  dark  green  No.  7. 

Green  Leaves.  —  Foundation  —  blue-green  and 
chrome  green  B,  shaded  with  brown-green  and 
dark  green  No.  7. 

Light  Leaves. — Grass  green  and  mixing  yellow, 
shaded  with  brown-green  No.  6  and  dark  green 
No.  7. 

Distant  Flowers  are  ruby  purple  and  brown-green 
No.  6  mixed. 

PERIWINKLE. 

Flowers. — Foundation  tint — matt  turquois  blue 
shaded  with  bronze  pink  ;  centers — bronze  orange  ; 
radiating  lines — bronze  pink.  Buds  treated  in  the 
same  manner. 

Lower  Flower  laid  in  with  turquois  blue,  with 
shadings  of  bronze  pink  and  matt  purple. 

Light  Leaves. — Lemon  yellow  and  light  yellow- 
green,  mixed  ;  shaded  with  matt  dark  green. 

Dark  Leaves. — Matt  blue-green  and  matt  dark 
green,  mixed,  shaded  with  bronze  green  No.  1. 
The  delicate  tints  in  these  leaves  are  obtained  by 
more  or  less  dilution  of  the  colors  and  varying  the 
quantity  of  each  shade  in  mixing,  which  the 
colored  example  plainly  indicates. 

Stems.  —  Bronze  green,  shaded  with  bronze 
brown. 


45 


Small  and  Distant  Flowers  are  painted  upon  the 
vellum  surface  with  bronze  lavender  and  bronze 
celadon. 

PERIWINKLE. — In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Flotvers. — Foundation — victoria  blue,  very  thinly 
laid  in  and  shaded  with  ruby  purple. 

The  green  effect  is  obtained  with  a  thin  wash 
of  mixing  yellow  over  the  blue. 

Lower  Flower. — Ruby  purple  and  victoria  blue, 
shaded  with  the  same. 

Leaves. ' —  Foundation  —  blue-green  and  dark 
green  No.  7,  graduated  into  apple  green  and  mix- 
ing yellow  ;  for  shading  use  brown-green  No.  6 
and  chrome  green  B  mixed. 

Yellow  Leaves. — Mixing  yellow  and  grass  green, 
shaded  with  brown-green  No.  6  and  dark  green 
No.  7. 

Stems. — Brown-green  No.  6,  with  brown  No.  4 
for  shading. 

CHRYSANTHEMUMS. 

Flowers  and  Buds. — For  the  lightest  tints  use 
bronze  yellow,  toned  with  bronze  orange  towards 
the  root  of  the  petals.  Bronze  pink,  full  strength, 
for  shading,  extending  a  thin  wash  over  the  local 
tint  with  the  same  color,  to  the  tip  of  the  petals, 
producing  a  warm,  transparent  shadow  tint.  For 
extreme  high  lights,  apply  white  enamel. 

Distant  stems  on  the  left. — Bronze  lavender  m±xed 
with  blue-green.    The  same  combination  for  lav- 


AO 


ender  leaves.  Stems  on  the  right  and  centre — 
light  yellow-green,  touched  with  bronze  green 
and  bronze  pink. 

Leaves. — Light  yellow-green  for  local  tint.  A 
thin  wash  of  yellow-brown  for  the  shadow  side. 
Shaded  with  bronze  green. 

Distant  Flowers  and  Leaves  are  painted  very 
delicately  with  matt  blue-green  upon  the  vellum 
ground.  Use  bronze  water  green  for  soft  blue- 
green  leaves. 

When  thoroughly  dry,  outline  the  design  (except- 
ing distant  effects)  with  relief  paste. 

CHRYSANTHEMUMS.— In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Foundation  tint  for  flowers  and  buds  — mixing 
yellow,  blended  carefully  to  the  edges  of  the 
pink,  which  is  carmine  No.  i,  laid  direct  vipon  the 
china.  After  the  tints  are  dry,  soften  them  with 
a  combination  of  three  parts  yellow-brown,  two 
of  brown-green  No.  6,  and  a  touch  of  ruby  purple, 
applied  with  a  light  quick  stroke  with  a  brush 
over  the  color  (not  into  it). 

The  ce titers  are  carmine  No.  2. 

Buds  treated  in  the  same  manner. 

Stems. — Violet  of  iron. 

Leaves. — Dark  green  No.  7,  shaded  with  grass 
green  and  mixing  yellow. 

Second  Shading. — Brown-green  No.  6. 

Light  Stem  on  the  /eft. — -Victoria  blue  and  ruby 
purple,  very  delicately  applied. 

Distant  Flowers. — Deep  ultramarine  blue  laid 
upon  the  ground  tint. 


47 


LOTUS  BLOSSOMS  AND  LEAVES  FOR  TRAY. 

Blossoms. — Foundation  tint — bronze  terra  cotta, 
deepened  with  bronze  pink  towards  the  center, 
using  bronze  pink  for  the  turned  edges  and  streaked 
effect  on  the  petals.  For  extreme  high  lights 
apply  Aufsetzweis  relief.  Center — bronze  yellow 
and  matt  black. 

Buds. — Bronze  pink  and  terra  cotta  mixed,  and 
shaded  with  bronze  pink. 

Large  Leaf. — Laid  in  with  bronze  celeste  ;  full 
strength  of  the  same  color  applied  heavy  on  the 
edges  ;  towards  the  center — bronze  orange  mixed 
with  bronze  celeste,  graduated  into  bronze  pink 
and  bronze  orange,  as  indicated  by  the  colored  ex- 
ample to  the  center,  which  is  matt  purple.  The 
touches  are  bronze  pink. 

Upper  Shadow  Leaf.  —  Bronze  lavander  mixed 
with  bronze  celadon,  laid  in  very  delicately  for 
the  foundation  tint ;  bronze  pink  for  the  tip  of  the 
leaf  ;  the  centre — matt  purple  ;  for  deep  shadow 
on  the  left  of  the  leaf — mix  bronze  lavender, 
bronze  pink,  and  bronze  celadon. 

Lower  Leaf. — Bronze  green  No.  i,  with  touches 
of  bronze  pink  and  bronze  lavender. 

Steins. — Bronze  lavender  and  celadon  mixed. 

>  Small  Distant  Flowers  are  painted  on  the  sur- 
face of  the  vellum  ground,  very  delicately,  with 
bronze  lavender  ;  center  of  flowers — bronze  yel- 
low, touched  with  bronze  orange. 


4S 

LOTUS  BLOSSOMS  AND  LEAVES  FOR  A  TRAY. 
In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Large  Leaf.  —  Victoria  blue  on  the  edge  and 
blended  into  ivory  yellow,  and  yellow  ochre  on 
the  left. 

On  the  Right. — Local  tint — carmine  No.  i,  using 
carmine  No.  2  for  shading.  Between  the  blue  and 
pink  lay  in  a  gray  tint  composed  of  carmine  No.  2 
and  apple  green. 

Gray  Leaf. — Carmine  No.  i  and  apple  green, 
shaded  with  the  same.  Outside  edg-e — carmine 
No.  2. 

Lower  Leaf.  —  Apple  green  and  brown-green 
No.  6,  blended  into  carmine  No.  1.  The  lavender 
effects  are  obtained  with  victoria  blue  and  ruby 
purple 

Flowers.  —  Foundation  tint — yellow  ochre  and 
carmine  No.  1,  shaded  and  streaked  with  carmine 
No.  2. 

Center. — Mixing-  yellow  and  ivory  black. 
Distant  Flowers. — Blue-green,  painted  delicately 
upon  the  ground  tint. 

LOTUS  BUDS  AND  LEAVES  FOR  A  PLATE. 

Upper  and  Lower  Buds. — Foundation — bronze 
terra  cotta,  shaded  strongly  with  bronze  pink. 
Middle  bud — bronze  celeste  and  bronze  lavender, 
with  touches  of  bronze  pink. 

Blossoms. — Inside  of  petals — bronze  terra  cotta. 
Outside  and  standing  petals — bronze  pink,  shaded 


and  streaked  with  the  same.  Centers — bronze 
orange.    Stamens — relief  paste  for  gold. 

Large  Leaf. — Foundation  of  shadow  side — bronze 
terra  cotta,  deepening-  to  bronze  lavender  at 
the  tips,  with  touches  of  bronze  green  No.  i, 
matt  purple  and  matt  yellow-brown.  Right  side 
of  leaf — bronze  lavender,  graduated  to  the  center 
with  bronze  water  green  and  bronze  orange, 
shaded  with  matt  purple  and  bronze  green  No.  i. 
Bronze  coral  red  surrounds  the  center,  which  is 
matt  purple.  Soften  the  varying  colors  of  the 
leaves  into  each  other,  without  overlaying  them, 
to  secure  purity  of  tints. 

Lower  Leaf.  —  Local  tint — terra  cotta,  shaded 
with  bronze  lavender  and  bronze  water  green. 

Leaf  on  the  Left.  —  Foundation — bronze  water 
green  and  bronze  lavender,  with  touches  of  bronze 
green  No.  i.  Under  side  of  leaf — bronze  water 
green,  shaded  with  bronze  green  ;  matt  purple 
center.  Distant  flowers  and  leaves  are  painted 
very  delicatety  with  matt  blue-green  upon  the 
vellum  ground.  Centers — bronze  orange.  Stems — 
bronze  water  green. 

LOTUS    BUDS    AND    LEAVES    FOR    A  PLATE. 
In  La  Croix  Colors. 

Flowers. — Carmine  No.  r,  shaded  with  carmine 
No.  2  for  the  outside,  and  ivory  yellow  for  the  in- 
side of  petals. 

Large  Leaf. — A  mixture  of  victoria  blue  and 
ruby  purple  on  the  left,  deepened  into  deep 
chrome  green. 


50 


Upper  Side.  —  Ivory  yellow  and  yellow  ochre, 
shaded  with  purple. 

Top  Edge. — Yellow  ochre  mixed  with  very  little 
ruby  purple,  and  shaded  with  brown-green  No.  6 
and  ruby  purple,  blended  into  ivory  yellow  towards 
the  center,  which  is  coral  red. 

Stems. — Ruby  purple  and  victoria  blue  for  the 
lavender  tint. 

Lower  Leaves. — Apple  green  and  brown-green 
mixed  and  blended  into  carmine  No.  i.  Shadow 
tint — apple  green  and  carmine  No.  2. 

BIRDS   AND  BRANCHES. 

Birds. — Matt  yellow-brown  for  the  foundation 
tint  of  the  breast,  back,  and  around  the  eyes,  shaded 
with  matt  flesh  red.  A  combination  of  matt  warm 
gray  and  matt  brown  is  delicately  laid  in  for  the 
head,  wings  and  tail,  shading  with  matt  brown 
and  matt  black,  same  as  colored  example.  Bronze 
lavender  for  the  high  lights  on  the  head,  wings 
and  eyes.  For  the  last  shading  on  the  neck,  top 
of  wing,  and  breast,  use  matt  warm  gray. 

Floivers. — Bronze  yellow  touched  with  bronze 
orange,  and  bronze  pink  centers. 

Leaves. — Matt  yellow-green  shaded  with  bronze 
green  No.  1. 

Large  Stems. — Matt  yellow-brown  shaded  with 
matt  brown.  Stem  on  the  right — bronze  laven- 
der and  bronze  celadon  mixed,  and  painted  upon 
the  bronze  vellum  background,  using  the  same  for 
distant  leaves. 


5* 


BIRDS  AND  BRANCHES.— In  La  Croix  Colors. 

Birds. — Breast — carnation  No.  2,  shaded  with 
carnation  No.  r.  Wings  and  tail  laid  in  with 
brown  No.  4  and  ivory  black  mixed.  Lavender 
effects  are  produced  with  victoria  blue  and  ruby 
purple.    Eyes  and  bill  are  traced  in  ivory  black. 

Brown  Stems. — Yellow  ochre  and  carnation  No.  1 
mixed,  and  shaded  with  violet  of  iron. 

Green  Stems. — Grass  green  and  mixing  yellow, 
shaded  with  brown-green  No.  6  and  chrome  green 
B.    The  same  for  leaves. 

Flowers.  —  Jonquil  yellow,  shaded  with  silver 
yellow  and  yellow-brown  ;  stencil  out  the  centers 
and  lay  them  in  with  carnation  No.  2.  Use  white 
enamel  for  raising  the  lights. 

Distant  Leaves. — Apple  green  and  carmine  No. 
2  mixed. 

PURPLE  CLEMATIS. 

Flowers.  —  Foundation  tint  —  bronze  lavender, 
with  the  addition  of  very  little  bronze  pink  ;  first 
shading — bronze  lavender  ;  second  shading — matt 
purple,  using  bronze  pink  for  the  dividing  line  of 
the  petals. 

Back  of  the  Flowers. — Bronze  celadon,  shaded 
with  bronze  green  No.  1. 

Ce?iter  of  Flowers.  —  Matt  light  yellow-green, 
streaked  with  bronze  pink. 

Buds  treated  in  the  same  manner. 

Leaves  are  a  combination  of  matt  blue-green 
and  matt  dark  green,  shaded  with  bronze  green 
No.  1. 


52 


Light  Leaves  and  Tendrils.  —  Foundation — matt 
lemon  yellow  and  matt  light  yellow-green  mixed, 
and  shaded  with  bronze  green  No.  i. 

Stems.  —  Bronze  celadon,  shaded  with  bronze 
green  No.  i,  with  touches  of  bronze  pink. 

Distant  Leaves  are  painted  upon  the  vellum 
background  with  bronze  celadon  mixed  with 
bronze  lavender. 

PURPLE  CLEMATIS. — In  La  Croix  Colors. 

Flowers. — Foundation — three  parts  of  victoria 
blue  to  one  of  ruby  purple,  shading  with  the 
same — equal  parts— and  using  ruby  purple  for  the 
center  lines  of  the  petals. 

Centers. — Grass  green  and  mixing  yellow. 

Flower  on  the  Left. — The  same  colors,  treated 
more  delicately. 

Large  Leaf. — Blue-green  and  chrome  green  B, 
shaded  with  brown-green  No.  6  and  dark  green 
No.  7 ;  under  side  of  leaf — grass  green  and  mixing 
yellow. 

Distant  Grasses. — Brown-green  No.  6. 

PEONIES  CONVENTIONALIZED. 

Flowers. — Bronze  pink,  shaded  and  streaked 
with  full  strength  of  the  same  color  and  washed 
over  with  bronze  orange. 

Yellow  Flowers. — Bronze  orange  for  foundation. 
Shadow  tints — bronze  pink  (follow  colored. ex- 
am pie). 


53 


Leaves  on  the  Left. — Lightest  tint — bronze  lav- 
ender, deepened  with  matt  purple  for  shadows  ; 
use  bronze  pink  for  strong  touches. 

Leaves  on  the  Right,  and  also  the  lower  leaves, 
are  composed  of  bronze  water  green,  shaded  with 
matt  purple. 

Stems. — Bronze  lavender  and  matt  purple  ;  gray 
stems — bronze  celadon  and  bronze  lavender. 

Small  Distant  Flowers  are  painted  on  the  sur- 
face of  the  vellum  ground,  very  delicately,  with 
bronze  lavender  ;  center  of  flowers — bronze  yel- 
low, touched  with  bronze  orange. 

PEONIES.— In  La  Croix  Colors. 

Background. — Chinese  yellow,  full  strength  to- 
wards the  outside  edges. 

Pink  Flowers. — Foundation  tint  of  carmine  No.  i ; 
while  moist  blend  it  with  yellow-brown.  Shade 
with  carmine  No.  2  and  apple  green,  mixed  and 
laid  over  the  local  tint  when  dry. 

For  Deep  Shadow  and  streaks  use  carmine  No.  2, 
full  strength. 

Yellow  Flowers.  —  Silver  yellow,  shaded  and 
streaked  with  ruby  purple. 

Stems. — On  the  right — blue-green,  with  a  touch 
of  Carmine  No.  2  ;  shade  with  the  same  ;  finish 
with  strong  touches  of  carmine  No.  2. 

Lavender  Leaves. — Three  parts  of  victoria  blue 
to  one  of  ruby  purple  for  the  first  tint  and  shaded 
with  the  same,  equal  parts,  with  touches  of  car- 
mine No.  2. 


54 


Green  Leaves. — Mixing  yellow  and  apple  green, 
shaded  with  brown  green  No.  6  and  blue-green. 

Distant  Flowers. — Ruby  purple  and  victoria  blue, 
treated  delicately  on  the  surface  of  the  ground 
tint. 

PANSIES. 

Pansies. — Foundation  tint — matt  lemon  yellow. 

First  Shading. — Matt  gold  yellow.  Take  one 
part  of  matt  purple  to  two  parts  of  matt  yellow- 
brown  ;  mix  them  thoroughly  for  the  second 
shading.  The  edges  and  strong  touches  on  the 
petals  are  obtained  with  bronze  pink. 

The  Centers  are  bronze  yellow  shaded  with  matt 
dark  green.    Radiating  lines  are  matt  purple. 

Buds  and  Half-blown  Flowers. — Treated  in  the 
same  manner.  Follow  colored  example  for  details 
in  treatment. 

Leaves. — Matt  light  yellow-green  and  matt  lemon 
yellow  combined,  for  the  upper  part,  graduating 
into  matt  dark  green,  shaded  with  bronze  green 
No.  i.  Matt  blue-green  and  matt  dark  green, 
mixed,  for  the  darker  leaves,  shaded  with  bronze 
green  No.  i. 

Stems. — Matt  light  yellow-green  and  lemon  yel- 
low, with  bronze  green  No.  i  for  shading. 

Distant  Grasses  are  painted  upon  the  surface  of 
the  vellum  background  tint  with  bronze  celeste, 
very  delicately. 

PANSIES. — In  La  Croix  Colors. 
Background. —Chinese  yellow. 
Pansies. — Foundation  tint — jonquil  yellow,  blend- 
ed into  ruby  purple  towards  the  outer  edge  of 


55 


petals,  When  dry,  shade  with  silver  yellow. 
Deep  shadows — yellow-brown  and  ruby  purple. 
The  stripes  are  ruby  purple  laid  over  the  colors 
when  dry. 

Centers. — Grass  green  and  mixing-  yellow. 

Buds  on  the  Rig/it,  treated  in  the  same  manner. 

Dark  Petals. — Ruby  purple,  delicately  laid  in, 
with  strong  touches  of  ruby  purple  on  the  edge 
and  centre  stripes. 

Leaves. — Dark  blue-green  and  chrome  green  B 
mixed,  and  shaded  with  brown  green  No.  6  and 
chrome  green  B. 

Light  Leaves. — Grass  green  and  mixing  yellow  ; 
for  shading  use  brown-green  No.  6  and  dark 
green  No.  7. 

The  Same  Colors  are  applied  to  the  stems. 

IRIS  FOR  TRAY. 

Flowers. — Foundation  tint,  upper  petals — bronze 
celeste  shaded  with  bronze  lavender. 

Lower  Petals.  —  Bronze  lavender,  strengthened 
with  matt  purple  in  the  shadows. 

Pollen. — Bronze  yellow,  with  touches  of  bronze 
orange. 

Brown  Leaves  and  Buds  are  laid  in  with  bronze 
brown,  with  the  addition  of  very  little  bronze 
pink,  using  the  same  combination  full  strength  for 
shading. 

Green  Leaves.  —  Upper  foundation — matt  blue- 
green  and  matt  dark  green  mixed,  to  correspond 
with  design,  and  graduated  down  into  matt  lemon 
yellow  and  matt  yellow-green  mixed ;  shadow 


5& 

tints — bronze  green  No.  [,  using  the  same  for  the 
stalks. 

Distant  Flowers  are  painted  upon  the  vellum 
surface  with  bronze  lavender  and  bronze  celadon. 

This  Design  is  very  effective  in  blue  and  gold, 
using  matt  deep  blue  delicately  for  the  entire 
foundation  tints  ;  the  same  for  shading,  full 
strength. 

IRIS. — In  La  Croix  Colors. 

Flowers. — Take  four  parts  of  victoria  blue  to 
one  of  ruby  purple  for  the  upper  petals  ;  add  more 
ruby  purple  to  deepen  the  tint  for  lower  petals, 
using  the  same,  full  strength,  for  shading. 

Pollen. — vSilver  yellow,  shaded  with  orange  yel- 
low. 

Deep  Shadows. — A  combination  of  yellow-brown 
and  ruby  purple. 

Brown  Buds  and  Leaves. — Foundation  tint — car- 
mine No.  2  mixed  with  yellow  ochre  and  ruby 
purple,  the  same  for  shading,  and  painted  upon 
the  surface  of  the  background. 

Leaves. — Blue-green  and  chrome  green  B  ;  first 
shading — grass  green  and  mixing  yellow  ;  deep 
shadows — brown-green  No.  6  a  ad  dark  green  No.  7. 

GARDEN  ANEMONE. 

Pink  Flowers  and  Buds. — Bronze  pink,  deli- 
cately wash  in  the  same  color  ;  full  strength  for 
shadows.  Mix  matt  black,  matt  light  blue  and 
matt  purple  for  the  foundation  tint  of  the  centers, 
and  finish  with  strong  touches  of  matt  black. 


57 


Lower  Flower. — Bronze  vellum,  thinly  laid  in, 
and  matt  lemon  yellow  softened  into  the  founda- 
tion tint  with  a  stippler  ;  follow  colored  example. 
The  shading-  color  is  bronze  celadon  ;  the  center 
is  treated  as  described  above  ;  bronze  pink  and 
matt  purple  for  the  streaked  effect  on  the  petals, 
radiating  from  a  matt  lemon  yellow  center. 

Distant  Leaves.  —  Bronze  celadon  mixed  with 
bronze  lavender,  painted  delicately  on  the  surface 
of  the  vellum  ground. 

Leaves  and  Steins  are  matt  blue-green,  matt 
yellow-green,  matt  dark  green,  and  shaded  with 
bronze  green  No.  i. 

GARDEN  ANEMONE.— In  La  Croix  Colors. 

Flowrers. — Local  tint  —  carmine  No.  i  shaded 
with  carmine  No.  2,  finished  with  a  soft  shadow 
tint  composed  of  apple  green  and  carmine  No.  2. 

Centers. — Violet  of  iron,  shaded  with  ivory 
black. 

Light  Flowers. — Mixing  yellow,  utilizing  the 
plain  china  for  high  lights  ;  shadows — apple  green 
and  carmine  No.  2  ;  ruby  purple  for  streaked 
effect,  and  finished  with  sky  blue. 

Leaves.  —  Grass  green  mixing  yellow,  brown- 
green  No.  6,  and  dark  green  No.  7  ;  equal  parts 
for  shading. 

Stems. — Grass  green  and  mixing  yellow,  shaded 
with  brown-green  No.  6  and  chrome  green  B 
mixed. 

The  Lower  Flower  has  a  thin  wash  of  sky  blue 
over  carmine  No.  1,  to  produce  the  purple  effect. 


5« 

Distant  Leaves. — Blue-green,  lightly  laid  over 
the  ground  tint. 

POPPIES. 

Flowers  and  Buds. — Foundation  tint — flesh  red  ; 
first  shading — brick  red;  deep  shadows  —  matt 
red. 

Centers. — Matt  yellow-green  and  matt  black. 

Leaves. — Foundation — matt  blue-green,  modified 
with  matt  dark  green,  graduated  into  matt  yellow 
green  ;  shaded  with  bronze  green  No.  i.  The 
same  for  stems. 

Tall  Grasses  and  Distant  Leaves  are  painted  upon 
the  vellum  background  with  bronze  lavender  and 
bronze  celadon  mixed. 

When  Thoroughly  Dry,  outline  the  design  (ex- 
cepting distant  effects)  with  relief  paste. 

POPPIES. — In  La  Croix  Colons. 

Poppies.  —  Local  tint  —  carnation  No.  2  ;  first 
shading  — capucine  red  ;  second  shading — deep 
red-brown  ;  base  of  petals — victoria  blue,  with  a 
touch  of  ruby  purple. 

Centers. — Grass  green  foundation,  and  violet  of 
iron,  with  strong  touches  of  ivory  black. 

Dark  Leaves.  —  Blue-green,  delicately  laid  in 
and  shaded  with  chrome  green  B  and  brown-green 
No.  6. 

Light  Leaves. — Grass  green  and  mixing  yellow, 
shaded  with  brown  green  No.  6  and  dark  green 
No.  7  mixed. 


59 


Distant  Leaves.  —  Painted  upon  the  grounding 
tint — carmine  No.  2  and  apple  green  mixed. 

CACTUS. 

Flower. — Foundation  tint — bronze  pink,  laid  in 
very  delicately  ;  first  shading — bronze  pink  ;  when 
dry  apply  a  thin  wash  of  bronze  orange  over  the 
entire  flower,  excepting  the  center,  which  is 
bronze  yellow  shaded  with  bronze  orange  ;  second 
shading  is  composed  of  bronze  pink,  bronze  orange 
and  matt  dark  g±*een  mixed. 

Buds  treated  in  the  same  manner. 

Stems  are  bronze  brown  and  bronze  pink  mixed, 
and  finished  with  strong  touches  of  bronze  pink. 

Large  Leaf.  —  Begin  with  matt  flesh  red,  gradu- 
ated into  matt  dark  green  and  matt  lemon  yellow 
mixed  for  the  foundation  tints  ;  shaded  with  bronze 
green  No.  1. 

Lower  Leaf.  —  Matt  blue-green  and  matt  dark 
green,  shaded  with  bronze  green.  Leaf  on  the 
right — matt  dark  green,  matt  yellow-green  and 
bronze  pink.  Use  bronze  pink  for  the  radiating 
points  of  leaves. 

For  Distant  Leaves. — Bronze  lavender  and  bronze 
celadon  mixed,  and  painted  delicately  upon  the 
surface  of  the  vellum  ground. 

CACTUS. — In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Blossom.  —  Foundation  —  carmine  No.  1,  and 
shaded  with  carmine  No.  2  and  apple  green  laid 
over  the  local  tint  when  dry. 


60 


Centers. — Mixing  yellow  touched  with  orange 
yellow. 

Large  Leaf. — Upper  part — violet  of  iron,  worked 
into  chrome  green  B  and  mixing-  yellow,  and 
shaded  with  brown-green  No.  6  and  dark  green 
No.  7  mixed,  and  blended  with  the  brush. 

Lower  Leaves. — Blue-green  and  chrome  green  B 
for  foundation,  shaded  with  brown-green  No.  6 
and  dark  green  No.  7  mixed. 

Stems. — Violet  of  iron  foundation  ;  brown-green 
No.  6  and  dark  green  No.  7  for  shading  ;  dark 
touches — violet  of  iron. 

Distant  Leaves — Brown-green  No.  6. 

BIRDS  AND  BLOSSOMS. 

Bird. — Tip  of  wings,  tail,  top  of  head,  legs  and 
feet — matt  black.  Upper  part  of  wings  and  back — 
matt  light  blue  and  neutral  gray  ;  add  matt  white 
to  heightened  effects  for  lights.  Breast — matt 
lemon  yellow  shaded  with  neutral  gray. 

Apple  Blossoms  and  Buds. — Outside  of  petals — 
bronze  pink,  shaded  with  matt  dark  green  and 
bronze  pink.  Inside  of  petals — ivory  vellum, 
thinly  laid,  shaded  to  the  center  with  matt  warm 
gray.    Stamens  in  relief  paste. 

Blue-Green  Leaves. — Matt  blue-green,  modified 
with  matt  lemon  yellow  to  soften  the  effect. 

Light  Yellow-Green  Leaves. — Matt  light  yellow- 
green  and  matt  lemon  yellow.  Shadows — matt 
dark  green  and  matt  yellow-brown. 

Stems. — Light  yellow-green,  shaded  with  matt 
brown. 


6i 

APPLE  BLOSSOMS  AND  BIRD.— In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Stencil  out  the  Flowers  with  tar  paste,  preparatory 
for  painting. 

Outside  of  Blossoms. — Carmine  No.  i,  blended 
delicately  into  mixing  yellow  towards  the  center  ; 
combine  carmine  No.  2  and  apple  green  for  the 
soft  gray  shading.    Stamens — relief  paste. 

Leaves. — Dark  blue-green  and  chrome  green  B 
mixed,  and  shaded  with  brown-green  No.  6  and 
chrome  green  B. 

Light  Leaves. — Grass  green  and  mixing  yellow  ; 
for  shading — brown-green  No.  6  and  dark  green 
No.  7.  Dark  touches  on  the  leaves — sepia  and 
yellow  ochre. 

Bird. — Deep  ultramarine  blue,  shaded  with  vic- 
toria blue  and  ruby  purple  mixed. 

Breast. — Mixing  yellow,  shaded  with  orange 
yellow  ;  brown  No.  4  and  ivory  black  mixed  for 
the  tips  of  the  wings  and  tail. 

CALIFORNIA  MORNING  GLORYS. 

Flowers. — Foundation  tint — bronze  pink,  gradu- 
ated into  bronze  yellow  towards  the  roots  of  the 
petals  ;  shade  with  bronze  pink  ;  when  dry  apply 
a  thin  wash  of  bronze  orange  over  the  pink  to 
soften  it.  The  green  shading  is  composed  of  matt 
yellow-green,  and  bronze  green  No.  1  for  the 
darker  tint. 

Buds. — Bronze  pink. 


1,2 


Leaves. — Matt  blue-green  foundation,  strength- 
ened towards  the  stem  with  matt  dark  green,  and 
shaded  with  bronze  green  No.  i. 

Stems  and  Small  Leaves.  —  Matt  yellow-green, 
shaded  with  bronze  green. 

CALIFORNIA   MORNING  GLORY. 
In  La  Croix  Colors. 

Background.— Chinese  yellow. 

Flowers.  —Foundation  tint — carmine  No.  i,  deli- 
cately laid  in  and  graduated  towards  the  center 
into  mixing  yellow.  Deep  shading — carmine  No. 
2,  full  strength.  Combine  mixing  yellow  and 
apple  green  for  the  green  effect  at  the  base  of  the 
petals. 

For  the  outside  of  Petals. — Yellow  ochre  and  mix- 
ing yellow,  delicately  applied  ;  tip  of  petals — car- 
mine No.  2. 

Leaves. — Deep  blue-green  foundation,  graduated 
into  apple  green  and  mixing  yellow  ;  shade  with 
brown-green  No.  6. 

Stems  and  Grasses. — Mixing  yellow  and  grass 
green,  touched  with  brown-green  No.  6.  The 
work  is  now  ready  for  the  first  fire  (rose-color 
heat)  ;  afterwards  outline  the  design  with  hard 
gold. 

,  CLEMATIS. 

FlQwer  in  the  Center. — Foundation  tint — bronze 
lavender,  shaded  with  the  same,  full  strength. 
Deep  shadows — matt  purple  ;   center — matt  yel- 


63 


low-green  and  matt  lemon  yellow,  streaked  with 
matt  purple  and  bronze  pink. 

Lower  Blossom  and  Buds. — Bronze  pink  and 
bronze  lavender  mixed,  with  touches  of  matt 
purple  ;  center — same  as  above. 

Flower  on  the  Left. — Foundation  tint — bronze  pink 
delicately  applied,  and  shaded  with  matt  purple. 

Stems. — Matt  yellow-green  and  bronze  yellow 
mixed  ;  shaded  with  bronze  green  No.  i. 

Leaves. — Matt  lemon  yellow  and  yellow-green 
mixed  for  foundation  tint,  graduating  into  matt 
blue-green  ;  shading  with  bronze  green  No.  i. 
After  the  tint  is  perfectly  dry  wash  over  the 
entire  leaf  with  matt  blue-green  mixed  with  very 
little  dark  green.  The  effects  of  green  are  soft- 
ened by  this  combination. 

Distant  Leaves. — Bronze  celadon  and  bronze  lav- 
ender mixed,  painted  on  the  surface  of  the  vellum 
ground. 

CLEMATIS.— In  La  Croix  Colors 

Flowers. — Take  four  parts  of  victoria  blue  to 
one  part  of  ruby  purple  for  foundation  tint,  adding' 
more  purple  for  the  deep  shadows.  The  dividing 
lines  of  the  petals  are  ruby  purple,  full  strength. 

The  Delicate  Green  effects  in  the  flowers  are 
obtained  with  grass  green  and  mixing  yellow, 
shaded  with  apple  green  and  carmine  No.  2  mixed. 

Leaves. — Mixing  yellow  and  apple  green  ;  brown- 
green  No.  6  and  dark  green  No.  7  for  shading. 


64 


Buds. — Carmine  No.  r,  shaded  with  apple  green 
and  carmine  No.  2. 
Stems. — Violet  of  iron. 

Distant  Leaves. — Apple  green  and  carmine  No.  2. 

PRIMROSES. 

Flowers. — Foundation  tint,  bronze  pink  laid  on 
very  delicately,  shaded  with  the  same  full  strength, 
adding-  a  very  little  bronze  green  No.  1  for  the 
gray  shading-  toward  the  center,  which  is  matt 
lemon  yellow  shaded  with  bronze  green  No.  1. 

Stems. — Bronze  brown  for  the  foundation,  with 
strong-  touches  of  matt  brown  and  bronze  pink 
mixed,  and  finished  with  matt  light  yellow-green 
to  soften  the  effect. 

Leaves  are  laid  in  with  matt  blue-green  and  matt 
dark  green,  mixed ;  shadow  side — matt  yellow- 
green  shaded  with  bronze  green  No.  1. 

Distant  Leaves  and  Tendrils  are  painted  delicately 
upon  the  bronze  vellum  background  with  a  com- 
bination of  bronze  lavender  and  bronze  celadon. 

PRIMROSES  —In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Flowers. — Foundation — carmine  No.  1,  laid  in 
very  delicately  and  shaded  with  carmine  No.  2 
and  apple  green. 

Centers. — Mixing  yellow,  with  touches  of  chrome 
green  B. 

Extreme  Centers. — Brown  green. 

Stems. — Grass  green.  Brown  green  No.  6  and 
violet  of  iron  mixed  for  shadows. 


65 


Leaves.  —  Dark  blue-green  and  chrome  green 
mixed,  shaded  with  brown-green  No.  6  and  chrome 
green  B.  The  yellow  effects  in  the  leaves  are 
obtained  with  grass  green  and  mixing  yellow. 
Deep  shading — brown-green  No.  6  and  dark  green 
No.  7. 

PASSION  FLOWER. 

Upper  Flower. — Foundation — bronze  pink,  deli- 
cately applied.  When  thoroughly  dry,  go  over 
the  petals  quickly  with  bronze  celeste  to  produce 
the  soft,  pink  lavender  effect,  as  indicated  in  the 
colored  design.  All  of  the  turned  edges  of  the 
petals  are  laid  in  with  bronze  pink. 

The  Centers  are  treated  alike  with  bronze  yellow 
shaded  with  bronze  orange.  The  radiating  streaks 
are  matt  purple,  with  delicate  touches  of  matt 
black. 

Center  and  Lower  Flower.  —  Bronze  lavender 
shaded  with  the  same,  using-  matt  purple  for  the 
deep  shadows. 

Blue-Green  Leaves. — Matt  blue-green  and  matt 
dark  green,  mixed,  shaded  with  bronze  green 
No.  i. 

Yellow  Green  Leaves. — Matt  light  yellow-green 
mixed  with  matt  lemon  yellow  ;  shaded  with  matt 
dark  green  and  bronze  green  No.  i. 

Stems. — Matt  dark  green  with  touches  of  bronze 
green  No.  r. 

Small  Distant  Flowers  are  painted  upon  the 
vellum  surface  with  bronze  lavender  and  bronze 
celadon. 


66 


When  Thoroughly  Dry  outline  the  design  (except 
distant  effects)  with  relief  paste. 

PASSION  FLOWER. — In  La  Croix  Colors. 

Background. — Chinese  yellow. 

Flowers. — Inside  of  petals  carmine  No.  i,  blended 
into  victoria  blue. 

Centres. — Mixing  yellow,  shaded  with  yellow- 
brown  and  ruby  purple  laid  over  the  yellow. 

Stripes. — Deep  blue  and  ruby  purple  mixed,  and 
ivory  black  for  deeper  effects. 

Outside  of  Petals. — Carmine  No.  i,  shaded  with 
carmine  No.  2. 

Yellow  Gree?i  Leaves. — Grass  green  and  mixing 
yellow,  using  brown  green  No.  6  and  dark  green 
No.  7  for  shading. 

Dark  Leaves. — Blue-green  delicately  shaded  with 
grass  green. 

Distant  Flowers. — Deep  blue-green  very  lightly 
laid  over  the  ground  tint. 
Centres. — Mixing  yellow. 


(Ifreatment  for  f©™il. 


Strawberries. — Foundation — capucine  red,  ap- 
plied delicately,  particularly  on  the  light  side, 
shading  with  capucine,  full  strength,  and  darkened 
with  deep  red-brown.  For  lighter  effects,  use 
carnation  No.  2  for  the  first  wash  ;  while  moist, 
stipple  and  round  the  berries. 

Half -ripe  Berries. — Carnation  No.  1,  deepened 
with  capucine  and  blended  into  apple  green,  mix- 
ing equal  proportions  of  carmine  No.  2  and  apple 
green  for  the  gray  shading  ;  stipple  evenly. 

Green  Berries.  —  Foundation  —  grass  green, 
touched  with  brown-green  No.  6,  and  stippled. 
When  they  are  perfectly  dry,  put  in  the  seed 
vessels  with  ivory  black,  cutting  out  the  color  for 
touches  of  silver  yellow. 

Vary  the  Coloring  for  Darker  Berries  with  a 
transparent  wash  of  orange  red.  On  the  shadow 
side,  use  the  same  color,  full  strength,  and  stipple 
smoothly.  After  firing,  deepen  the  berries  with 
capucine  red. 

Currants. — Delicate  wash  of  orange  red  on  the 
light  side,  the  same  full  strength  for  shading, 
using  touches  of  dark  green  No.  7  to  deepen  it. 


68 

Cut  out  the  lights  and  glaze  them  over  with  grass 
green.  Define  the  lines  with  the  erasing  pin,  and 
cover  them  with  yellow-brown. 

Distant  Currants. — Carnation  No.  3  for  the  foun- 
dation, shaded  with  violet  of  iron,  finished  with 
touches  of  deep  red-brown.  Blend  the  tints  with 
the  painting  brush,  and  do  not  use  the  stippler. 

Yellow  Cherries. — Beginning  at  the  stem,  lay  in 
a  delicate  foundation  with  carnation  No.  3,  shading 
with  capucine  red  and  extending  it  down  into 
ivory  yellow,  which  is  strengthened  with  orange 
yellow.  While  moist,  stipple  into  form.  Cut  out 
the  high  lights,  and  after  the  first  fire — on  the 
orange  yellow  foundation — lay  in  a  shadow  tint  of 
yellow-brown,  adding  a  touch  of  brown-green 
No.  7.  Stipple  smoothly,  avoid  hard  decided  lines 
after  cutting  out  the  high  lights  ;  stipple  the  color 
to  soften  the  edges. 

Cherries,  medium  in  color. — Orange  yellow, 
shaded  with  capucine  red. 

Cherries,  dark. — Foundation — deep  red-brown, 
shading  with  ruby  purple,  stippled  carefully. 

Red  Raspberries. — Foundation — carmine  No.  1, 
shading  with  carmine  No.  2  ;  dark  shading — purple 
No.  2.  Trace  the  berry  with  carmine  No.  2,  and 
indicate  the  markings  with  the  same  color,  making 
the  "  rings  "  heavier  on  the  lower  side  and  de- 
crease their  size  as  they  reach  the  outside  edge, 
to  round  the  effect. 

Green  Berries. — Apple  green  and  mixing  yel- 
low ;  shadow  side — brown-green  and  dark  green 
No.  7.    Use  the  same  color  for  markings. 


69 


Purple  Berries. — Purple  No.  2,  shading  and 
markings  with  the  same  ;  full  strength. 

Distant  Berries. — Foundation — victoria  blue  and 
purple  No.  2,  mixed,  and  delicately  washed  in  ; 
the  shadows  and  markings  are  laid  in  with  the 
same,  full  strength. 

Blackberries. — Rings,  ivory  black,  full  strength. 
When  dry,  a  transparent  wash  of  one  part  of  ruby 
purple  with  three  parts  of  victoria  blue,  adding 
very  little  ivory  black,  mixed  thoroughly,  and  laid 
over  the  light  side,  graduated  into  deep  red-brown 
for  the  shadows. 

Gooseberries. — Highest  lights — apple  green  and 
mixing  yellow,  blended  into  apple  green  and 
dark  green  No.  7  ;  for  the  shadow  tint,  add  a 
touch  of  yellow-brown.  Cut  out  the  veinings,  and 
trace  them  in  thinly  with  jonquil  yellow.  After 
the  first  firing,  the  shadow  side  of  the  berry  will 
require  a  thin  wash  of  capucine  red. 

Purple  Grapes. — Foundation  color — two  parts  of 
deep  blue,  with  one  part  each  of  deep  purple  and 
ivory  black,  thoroughly  mixed,  and  laid  over  the 
entire  grape  delicately,  adding  a  little  more  purple 
for  some  of  them,  to  obtain  the  red  variety. 
Stipple  smoothly.  When  dry,  shade  with  the 
same  colors,  full  strength.  On  the  outside  edge  of 
the  shadow  side,  leave  the  reflected  light  to  round 
the  grapes.  Cut  out  the  high  lights,  and,  when 
thoroughly  dry,  lay  over  the  colors  a  thin  wash  of 
victoria  blue.  After  the  first  fire,  round  up  the 
shadows  with  purple  and  black.    When  dry,  place 


7o 


a  transparent  wash  of  yellow  ochre  on  the  lower 
side  of  the  grapes. 

Half-ripe  Effects. — Foundation — mixing  yellow 
and  apple  green,  blended  into  deep  purple  and 
ivory  black,  shaded  with  brown-green  No.  6.  The 
shadow  side  should  be  clear  deep  purple.  Last 
shading — a  mixture  of  deep  purple,  black  and  vic- 
toria blue,  and  stipple  to  round  the  grapes.  When 
thoroughly  dry,  glaze  with  deep  chrome  green. 

Stems. — Yellow-brown,  shaded  with  violet  of 
iron  and  brown-green  No.  7.  Touches  on  the 
leaves — violet  of  iron. 

Tendrils. — Grass  green  and  mixing  yellow, 
shaded  with  brown-green. 

Peaches. — Foundation — carnation  No.  2,  blended 
into  violet  of  iron  and  sky  blue  for  shading.  The 
reflected  light  on  the  outside  edge  is  laid  in  with 
yellow  ochre. 

A  delicate  foundation  of  ivory  yellow  for  the 
light  side,  blended  carefully  with  brown-green  for 
shading.  While  moist,  stipple  the  colors  smoothly, 
and  after  firing,  strengthen  the  shadow  side  with 
corresponding  colors,  and  deepen  the  shading 
with  three  parts  of  brown-green,  and  one  part  of 
brown  No.  4.  Stipple  evenly.  When  dry,  add 
touches  of  carnation  No.  2  with  the  stippler.  For 
darker  markings,  brown  No.  4  and  violet  of  iron, 
and  strengthen  the  ivory  yellow  with  dashes  of 
orange -yellow,  reserving  the  lights.  Give  a  strong 
fire. 


^Treatment  for  (®eav>>es. 


A  general  treatment  for  leaves  will  be  given, 
and  your  copy  will  suggest  the  selection  : 

Blue-Green,  worked  in  with  grass  green  and 
mixing  yellow  ;  shading  with  brown-green  No.  6 
and  yellow  ochre  ;  afterwards  strengthen  with 
brown  No.  4.  Tips — violet  of  iron.  The  ribs  on 
the  underside  of  the  leaf — cut  out  and  fill  in  with 
mixing  yellow  and  grass  green  combined. 

Apple  Green  and  brown-green  No.  6  for  foun- 
dation color,  worked  in  with  violet  of  iron,  and 
shaded  with  brown-green  No.  6  and  yellow  ochre  ; 
pink  touches — violet  of  iron  blended  in  with  the 
green. 

Stems.- — Yellow-brown,  shaded  with  brown  No. 
4  and  violet  of  iron.  The  above  will  apply  to 
grape  leaves. 

Dark  Heavy  Leaves.  —  Foundation  —  emerald 
stone  green,  shaded  with  the  same  mixed  with 
brown-green  No.  6  ;  second  shading — dark  green 
No.  7  and  brown-green  No.  6  combined. 

Blue-Green  Leaves.  —  Foundation — blue-green 
and  dark  green  No.  7,  graduated  into  apple  green 


72 


and  mixing  yellow,  shading  with  brown-green 
No.  6  and  ehrome  green  B  mixed. 

Yellow  Leaves. — Mixing- yellow  and  grass  green, 
shading  with  brown-green  No.  6  and  dark  green 
No.  7,  with  touches  of  sepia  and  yellow  ochre. 

Medium. — Dark  green  No.  7,  shading  with  grass 
green  and  mixing  yellow  ;  second  shading — brown- 
green  No.  6. 

Delicate  Leaves. — Apple  green,  adding  carmine 
No.  2  for  gray  shading  ;  used  also  for  distant 
leaves. 

Underside  of  Leaves. —  Grass  green  and  mixing 
yellow,  or,  blue-green,  shaded  with  chrome  green  B. 

Shadow  Leaves. — Apple  green  and  brown-green 
mixed,  and  blended  into  carmine  No.  1,  shading 
with  apple  green  and  carmine  No.  2.  Strong 
touches  on  leaves,  tips  and  outlining — violet  of  iron. 

Stems,  Calyx  and  Stamens. — Grass  green  and 
mixing  yellow,  shading  with  brown-green  No.  6 
and  chrome  green,  mixed.  Brown-green  No.  6, 
shading  with  brown  No.  4.  Blue-green,  with 
a  touch  of  carmine  No.  2  ;  shade  with  the  same. 
Violet  of  iron,  adding  a  little  brown-green  No.  6 
and  dark  green  No.  7  for  shading 


aekgpounck, 


WITH  LR  CROIX  AND  ROYAL  WORCESTER  COLORS, 

Are  treated  in  the  same  manner.  The  dark  colors 
require  less  dilution,  consequently  less  oil  is  used 
with  them.  The  proportion  of  the  Osgood  Art 
School  tinting  oil  to  grounding  colors  are  ;  two 
parts  of  oil  with  four  of  color. 

Begin  at  the  top  with  the  lighter  tints,  to  be 
followed  with  the  medium  shade  and  graduated 
into  the  darkest  color  at  the  bottom.  The  colors 
should  be  blended  while  moist  to  prevent  hardness 
of  outline  where  they  over-lap  each  other. 

Use  a  deer-foot  stippler  Xo.  6  to  reduce  the  dark 
tints  to  smoothness,  while  dabbers  of  cotton, 
enclosed  in  fine,  soft  mull,  are  required  for  the 
lighter  colors,  changing  them  often.  Be  expedi- 
tious, as  your  colors  are  drying. 

The  white  spots  which  appear  after  firing,  on 
the  surface  of  delicate  grounds,  are  often  produced 
by  using  wet  dabbers,  and,  again,  by  neglecting  to 
incorporate  the  flux  thoroughly  with  the  colors. 


74 


Keep  your  tints  pure  and  clean,  to  give  brilliancy 
to  your  painting-.  If  you  have  succeeded,  the 
harmonious  blending  of  your  background  will  well 
repay  you  for  the  anxiety  and  trouble,  and  it  will 
never  be  as* difficult  again. 

A  selection  of  La  Croix  colors  for  graduated 
backgrounds  are  given  and  will  be  found  very 
effective ;  besides,  the  eye  will  become  trained 
to  observe  the  gradation  of  tints — useful  in  all 
branches  of  china  painting  : 

Light.  Medium.  Dark. 

Blue—        Turquois  Blue  Deep  Blue  Old  Blue 

Green —       Olive  Green  Brown  Green  No.  6  Dark  Green  No.  7 

Yellow--     Jonquil  Yellow  Silver  Yellow  Orange  Yellow 

Pink —        Japan  Rose  Deep  Purple 

Red—         Carmelite  Capucine  Red  Deep  Red-Brown 

Lavender — Lavender  Blue  Light  Violet  of  Gold  Deep  Violet  of  Gold 

Brown —     Yellow  Ochre  Sepia  Brown  No.  4 

Apply  these  colors  in  delicate  washes.  Pretty 
effects  are  produced  with  the  light  and  medium 
tints  alone.  When  thoroughly  dry,  sketch  upon  it 
a  design,  to  be  painted  with  the  darkest  corre- 
sponding tint,  giving  a  very  effective  monochrome. 
When  finished,  outline  with  gold.  If  a  more  deli- 
cate treatment  for  flower  painting  is  required, 
take  the  medium  colors — for  the  darker  shade — 
and  graduating  them  into  the  lighter  tints  ;  or  any 
one  of  the  colors  can  be  used  alone,  modifying  the 
effect  with  the  aid  of  tinting  oil,  and  pouncing 
them  into  delicacy.  All  colors  require  a  strong 
fire  before  working  the  hard  gold  over  them, 
otherwise  the  gold  will  sink  into  the  rough  surface 
of  the  painting,  and  no  amount  of  polishing  will 
restore  it  to  brilliancy. 


75 


Royal  Worcester  backgrounds  are  treated  in  the 
same  manner.  To  one  part  of  ivory  vellum  add 
two  parts  of  either  of  the  following  bronze  colors  : 
Pink,  lavender,  celeste,  water  green,  orange,  golden 
buff ;  thoroughly  mix  them  with  the  tinting  oil, 
and  graduate  this  mixed  tint  into  ivory  vellum 
as  your  taste  may  suggest. 

Bronze  brown  and  Paris  blue,  Green  Nos.  i  and  2, 
used  alone  for  solid  effects,  and  fired  ;  afterwards 
treated  with  hard  gold  or  brushing  the  gold  over  it 
(not  too  heavy)  will  give  the  appearance  of  genuine 
bronzes.  It  is  a  waste  of  gold  to  attempt  mixing 
it  with  the  moist  color,  and  not  as  satisfactory  as 
the  process  described. 

When  preparing  a  quantity  of  color  for  back- 
grounds use  a  small  glass  muller  for  mixing  them 
upon  a  porcelain  tile.  A  palette  knife  cannot 
be  used  indiscriminately  with  colors,  some  of 
which  change  when  brought  in  contact  with  steel; 
besides,  you  have  the  broad  surface  of  the  muller 
to  better  incorporate  the  mediums.  The  success 
of  your  painting  largely  depends  upon  thorough 
mixing — to  avoid  inequality  and  unevenness  of 
tint,  as  if  dust  had  settled  into  the  color  when 
moist. 


©ireetions  for  {©avjiny  ©pounds. 


The  most  important  -preliminary  requisite  to 
successful  tinting  and  painting  with  mineral  colors 
is  an  entire  absence  of  dust.  If  any  should  accum- 
ulate upon  the  surface  while  working-,  remove  it 
at  once  with  a  needle.  If  allowed  to  remain,  the 
color  will  settle  about  the  particles  and  produce  a 
bad  effect  after  firing. 

Prepare  the  china  for  sketching  by  rubbing  the 
surface  with  turpentine,  as  it  will  take  the  pencil 
better.  If  you  are  unable  to  draw  in  the  design, 
transfer  them  with  the  aid  of  tracing  or  impression 
paper,  afterwards  outlining  the  sketch  very  deli- 
cately and  distinctly  with  a  No.  i  tracer  and  India 
ink.  Make  all  corrections  before  laying  the  tint, 
as  a  defective  drawing  cannot  be  disguised  with 
color. 

Decide  upon  the  quantity  of  grounding  tint 
required,  as  it  is  an  impossibility  to  match  shades 
with  moist  colors. 

Take  four  parts  of  any  quantity  of  ivory  vellum 
or  cream  tint,  and  add  to  it  two  parts  of  tinting 
oil,  which  prevents  the  color  from  drying  too 
rapidly.  A  thorough  mixing  of  the  two  is  very 
necessary. 


77 

When  it  is  reduced  to  a  smooth  paste,  add  tur- 
pentine, being-  careful  not  to  use  it  in  excess. 
When  it  flows  from  the  brush,  covering  the  ware 
opaquely  and  remains  without  spreading-,  then  it 
is  in  fine  working"  condition. 

If  too  thin,  add  a  little  more  color ;  if  a  great 
deal  of  color  is  required,  more  oil  must  be  used, 
otherwise  the  tint  will  dry  too  fast.  If  too  much 
oil  is  used,  it  draws  the  dust  to  the  color  and  every 
precaution  cannot  prevent  it. 

The  brush  must  be  thoroughly  cleaned  with 
turpentine,  dried,  then  dipped  in  oil.  A  few 
strokes  upon  a  tile  will  reduce  the  quantity  of  oil 
in  the  brush,  which  is  now  ready  for  the  color. 
The  cause  of  unsuccessful  ground-laying  can  be 
attributed,  very  often,  to  placing  the  brush  in  the 
color  direct  from  the  turpentine,  which  not  only 
thins  the  color,  but  gives  a  streaked  effect  to  the 
surface  which  blending  cannot  soften. 

Mixing  thoroughly  cannot  be  too  strongly  in- 
sisted upon  ;  always  use  a  horn  knife  or  glass 
muller,  never  utilizing  the  brush  for  the  purpose — 
spoiling  it  for  all  practical  use.  The  tint  should 
always  be  remixed  whenever  the  brush  is  returned 
to  it,  adding  very  little  turpentine  when  it  becomes 
too  thick.  If  any  color  remains  after  painting  or 
tinting,  it  can  be  returned  to  the  vial  in  its  moist 
condition,  and  used  again. 

Brushes. — Use  a  large,  flat  camel's-hair  ground- 
ing brush,  size  ^,  perfectly  free  from  loose  hairs, 
clean,  and  otherwise  in  good  condition. 


78 


Directions  for  Working. — Everything  being  in 
readiness,  charge  the  brush  with  color,  and  pro- 
ceed to  cover  the  entire  surface  of  the  china  with 
broad,  flat  washes,  in  such  a  manner  that  each 
application  of  color  will  soften  into  each  other, 
giving  an  even  smoothness  to  the  work  which  can 
never  be  accomplished  by  hesitancy,  so  quickly 
perceptible  in  ground-laying.  If  the  surface  is 
devoid  of  ridges,  do  not  blend  it.  If  it  presents 
an  uneven  effect,  use  a  dabber  or  deer-foot  stippler 
to  soften  the  tint,  being  expeditious,  otherwise  your 
color  will  become  dry  and  unmanagable. 

Do  not  blend  too  much,  as  the  dabber  and  the 
brush  absorb  the  medium,  leaving  the  color 
"  grainy  "  and  the  surface  semi-opaque,  in  direct 
opposition  to  what  it  should  be.  A  skillfully- 
managed  background  presents  more  difficulty  to 
the  amateur  than  the  decoration  that  follows. 

Dabbers  should  be  prepared  in  advance,  and 
changed  as  often  as  the  color  collects  upon  them. 
They  are  made  by  placing  cotton  within  a  square 
of  soft  linen  or  silk,  bringing  the  four  corners  to- 
gether, and  tied.  The  deer-foot  stippler  should 
be  cleansed  with  turpentine,  drying  it  with  a 
cloth,  to  prevent  it  from  "  taking  up  "  the  color 
while  blending.  It  will  be  found  useful  in  the 
small  interstices  of  the  handles,  etc.  If  you  have 
failed  in  the  first  trial  do  not  experiment  by  try- 
ing to  patch  it,  but  remove  the  color,  and  follow 
the  directions  more  closely.  Your  second  attempt 
may  be  successful  ;  at  the  same  time  you  are  be- 
coming acquainted  with  the  materials  in  hand, 


79 

and  the  effects  of  different  methods,  as  applied 
by  yourself. 

As  there  is  more  or  less  risk  in  handling-  Royal 
Worcester  backgrounds,  it  is  advisable  to  have 
them  fired  first.  If  they  are  short-fired — they  will 
come  out  almost  black  or  smoked — place  them 
back  in  the  bottom  of  the  kiln,  give  a  strong  fire, 
and  the  discoloration  will  all  disappear.  They 
require  the  same  temperature  of  heat  given  to 
carmines  and  gold.  The  bronzes  containing  more 
body  of  color,  are  liable  to  chip  off  with  repeated 
firings,  while  the  matt  colors  show  greater  resist- 
ance against  heat — matt  coral  red  is  the  exception, 
being  a  fugitive  color  will  stand  only  one  firing. 

Royal  Worcester  backgrounds  and  colors  can  be 
softened  by  rubbing  them  carefully  with  the  finest 
emery  cloth — No.  oo— which  will  remove  the 
roughness  caused  by  firing.  La  Croix  colors  can 
be  treated  in  the  same  manner. 

Before  stenciling  the  ground  tint  with  tar  paste 
it  must  be  thoroughly  dry,  to  prepare  the  design 
for  painting,  which  will  be  visible  through  the 
color. 


©ipeetions  fop  losing  dfap  p)astc. 


After  laying-  on  a  background,  keep  it  free  from 
dust,  and  allow  it  to  harden  before  applying  the 
paste.  Use  no  heat  in  the  drying  process.  Mix  a 
little  of  the  paste  upon  your  palette  until  smooth 
(if  it  is  hard  add  a  few  drops  of  tar  oil),  and  with  a 
small  brush  cover  every  part  of  the  design  you 
wish  to  stencil  out  with  a  thin  coating  of  the 
paste,  using  care  not  to  go  beyond  the  outlines. 
This  completed,  wipe  off  the  paste  with  small  wads 
of  cotton  batting  (previously  prepared),  using 
them  only  once.  If  the  backgrounds  are  heavy 
in  tint,  add  a  little  clove  oil  in  connection  with  the 
tar  oil,  and  apply  a  heavy  coating  of  the  paste — 
which  should  stand  a  few  moments  before  remov- 
ing. The  article  is  now  ready,  with  the  design  in 
white,  to  be  filled  in  with  color.  Keep  the  bottle 
well  corked  when  not  in  use. 


©ireetions  for  fixing  Relief  p^aste, 


FOR  RAISED  GOLD. 

It  is  very  necessary  to  have  the  paste  thoroughly 
ground  and  perfectly  free  from  grit.  Calculate 
the  quantity  required,  then  take  two  parts  of  fresh 
tar  oil  to  four  parts  of  paste.  With  a  horn  palette- 
knife  mix  until  the  relief  is  incorporated  into  a 
smooth  paste,  adding  very  little  fresh  turpentine, 
mixing  the  second  time,  all  of  which  is  improving  it. 

Working  directions. — Take  a  No.  i  tracer,  not 
too  short,  as  it  must  hold  enough  for  an  extended 
line,  when  required.  Insert  the  point  underneath 
the  paste,  taking  it  out  with  a  quick,  upward 
motion,  causing  the  paste  to  remain  on  the  upper 
side  of  the  brush;  the  paste  is  less  liable  to  spread 
by  observing  this  precaution.  To  have  charged 
the  brush  with  relief,  as  you  do  with  color  for 
painting,  the  round  beauty  of  your  outline  would 
be  lost. 

The  consistency  can  be  determined  by  trials 
only.  If  it  separates,  it  is  too  thin  ;  then  spread 
it  upon  the  tile,  allowing  the  turpentine  to  evapo- 
rate. Breathe  upon  it,  but  do  not  add  more  oil, 
as  it  will  blister  in  firing.    After  a  few  minutes, 


82 


mix  again  and  make  another  trial.  If  the  relief 
is  too  solid,  add  a  few  drops  of  turpentine.  When 
in  perfect  working-  condition  it  will  follow  the 
brush  in  a  solid,  smooth,  unbroken  line.  Gradu- 
ated lines  are  regulated  by  a  slight  pressure  on 
the  brush  at  the  beginning  of  the  stroke,  raising- 
it  slowly  and  forming  a  hair-line  towards  the 
finish. 

Do  not,  in  the  beginning,  attempt  complicated 
designs.  Try  simple  effects.  Give  clear  definition 
to  your  strokes,  and  lengthen  them  by  degrees 
only  as  you  are  able  to  do  it  well.  Avoid  raisin  g 
them  too  high,  or  too  sharp  and  irregular.  Any 
hesitancy  is  plainly  visible,  taking  away  the  effect 
desired  when  finished — that  of  a  gold  wire  encir- 
cling the  flowers  and  leaves. 

All  colors  must  be  hard-dry  before  applying  the 
paste  over  them.  Complete  any  portion  of  the 
work  commenced,  for  the  reason,  after  the  paste 
has  become  hardened  it  will  not  absorb  the  fresh 
applications  ;  and,  while  it  may  have  every  appear- 
ance of  durability,  it  will  scale  off  in  firing.  Repairs 
are  always  possible ;  at  the  same  time,  avoid 
patching  when  you  can.  Allow  the  work  to  have 
sufficient  time  to  dry  gradually  and  thoroughly 
before  placing  it  in  the  kiln. 

If  it  chips  off,  after  firing,  you  have  possibly 
applied  it  over  an  oily  surface  of  color,  not  per- 
fectly dry.  This  is  considered  to  be  the  principal 
reason  ;  yet  there  arc  others.  The  paste  may  not 
have  been  thoroughly  mixed  and  worked  too  dry, 
or  the  mediums  — if  not  fresh — have  made  it  too 


83 

fat,  causing  it  to  blister  and  chip  in  firing  ;  and  if 
not  smoothly  ground,  the  mediums  will  not  reduce 
it  sufficiently.  The  rough,  broken  line  will  come 
from  the  kiln  more  irregular,  and  portions  of  it 
having  disappeared  entirely. 

Anticipate  these  difficulties  and  guard  against 
them.  Remember  that  paste  improves  and  en- 
hances the  effect  and  value  of  gold  in  decoration, 
while  gold  will  not  hide  defects  in  paste,  only 
making  them  more  apparent.  A  disposition  to 
practice  in  laying  paste  is  an  advantageous  use  of 
time. 

In  putting  on  layers  of  paste,  one  over  the  other, 
for  modeled  effects,  the  first  must  dry  partially 
before  the  next  one  is  applied,  and  be  devoid  of 
all  grit,  to  produce  a  smooth,  even  surface,  upon 
which  the  gold  can  be  placed  with  safety  ;  if 
irregular,  you  will  lose  one-half  the  effect  of  your 
gold,  which  has  been  absorbed  into  the  paste,  and 
retouching  will  not  remedy  it.  Pretty  results  are 
produced  with  outline  work  in  small  flowers  and 
conventional  borders  upon  the  plain  ware  ;  then 
fill  in  the  design  with  different  colors  of  gold. 
Backgrounds  treated  in  this  way  give  a  pleasing 
variety. 

When  an  entire  decoration  is  carried  out  with 
paste  and  gold  in  connection  with  dark,  heavy 
backgrounds,  stencil  out  the  design,  and  lay  the 
paste  direct  upon  the  ware,  then  give  a  regular 
kiln  fire  ;  afterwards  matt  gold  is  applied  over  it 
solidly,  leaving  no  visible  trace  of  the  paste  under- 
neath.   Polish  with  a  glass  brush. 


84 

Doulton  manufacture  produces  beautiful  exam- 
ples of  the  raised  gold  work.  Royal  Worcester 
gold  decorations  are  confined  more  to  delicate 
tracings  upon  the  color,  defining  the  form  and 
veining  of  the  leaves  very  closely. 

Relief  enamels  are  treated  in  the  same  manner 
as  the  paste,  differing  more  in  the  application  to 
the  ware,  which  consists  of  laying  dots  in  imitation 
of  jewels.  They  can  be  dropped  into  any  size  or 
form ;  mix  enamels  with  a  horn  palette  knife, 
and  fire  only  once. 

Jewels  are  fastened  to  china  with  either  relief 
paste  or  enamels,  then  given  the  same  temperature 
required  for  firing  glass,  which  is  the  clear  red  glow 
before  reaching  "rose  color  heat."  If  fired  too 
long,  you  need  not  be  surprised  to  find  your  care- 
fully-arranged jewels  misplaced,  and  those  that 
are  missing  secured  upon  other  pieces  of  china, 
where  they  have  dropped  on  reaching  the  ?nelting 
point. 

To  avoid  these  disasters,  sketch  your  design 
upon  the  background,  making  a  careful  calcula- 
tion for  the  size  and  form  of  the  jewels  to  be  used, 
then,  with  tar  paste,  stencil  out  the  color  (do  not 
go  beyond  the  outline)  and  fire  the  work. 

Afterwards,  with  the  aid  of  cement — the  same 
that  is  used  for  repairing  china  and  glass — secure 
the  jewels  in  place  ;  after  a  thorough  drying,  the 
permanency  and  durability  of  your  decoration  is 
assured. 


DIRECTIONS  FOR  USING 

(fhc  (Osgood  J)ehcol  ©old 

Before  attempting  the  gilding  of  china,  it  is  im- 
perative that  everything  should  be  scrupulously 
clean  and  free  from  dust.  To  neglect  this  pre- 
caution, the  gilding  will  be  irregular,  and  the 
effect  of  the  work  destroyed. 

The  gold  is  in  the  form  of  brown  paste  ;  when 
fired,  it  comes  out  a  light,  unglazed,  yellow  tint, 
requiring  a  glass  brush  to  polish  it  if  a  matt  ap- 
pearance is  desired,  or  burnished  with  an  agate 
burnisher  for  a  more  brilliant  effect. 

Matt  gold  grounds  can  be  embellished  by  chasing 
upon  the  surface,  with  a  sharp  burnishing  tool. 
Repeated  scroll  designs  produce  the  best  effect 
for  this  process  of  engraving  upon  gold,  which 
should  first  be  accurately  drawn  in  with  India  ink, 
as  mistakes  are  very  apparent,  and  are  not  easily 
corrected. 

Mineral  colors  in  black  or  red,  can  also  be  ap- 
plied in  describing  tracings,  and  lines,  upon  gold 


S6 

grounds.  If  they  are  judieiously  used,  a  very 
artistie  effect  will  be  achieved. 

Brushes. — The  most  reliable  brushes  for  gold 
are  the  imported  French  tracers  No.  i — No.  2  for 
general  work.  They  become  hard  when  not  in 
use,  and  should  be  softened  carefully  with  turpen- 
tine in  a  cup,  kept  expressly  for  that  purpose,  as 
the  valuable  sediment  formed  in  the  bottom,  can 
be  removed  after  the  turpentine  has  evaporated, 
and  used  again. 

Practical  Directions. — Place  the  gold  upon  a 
ground-glass  slab.  Thoroughly  incorporate  with 
it  very  little  fat  oil  and  turpentine,  using  a  horn 
knife  for  mixing.  If  too  much  fat  oil  is  used  the 
gold  will  blister  in  firing,  while  turpentine  is 
gradually  added  during  the  entire  process  of 
gilding,  to  keep  the  gold  open  and  in  working 
condition. 

Do  not  load  the  brush  with  too  much  gold,  as  it 
will  impede  the  stroke,  resulting  in  an  uneven 
outline,  while  the  right  quantity  will  admit  of 
freedom  in  working,  to  produce  a  solid  line. 
Amateurs  are  inclined  to  apply  the  gold  as  a  wash, 
which  is  disappointing  in  its  effect  after  firing, 
and  can  neither  be  burnished  or  polished. 

The  exact  manner  of  laying  the  gold  evenly, 
cannot  be  perfectly  described.  Notwithstanding 
this,  it  can  be  successfully  accomplished,  requiring 
judgment  and  delicacy  of  touch,  combined  with 
patience  and  perseverance. 

The  Stippled  Effect  of  Gold,  as  seen  on  Doulton 
and  Japanese  wares,  can  be  closely  imitated,  by 


87 


using-  the  skigle-quill  Fitch  stippler,  the  sizes 
depending-  upon  the  work  required  of  them.  The 
process  consists  of  dabbing  and  blending  the  gold 
upon  the  china,  and  is  quite  easy,  besides  making 
a  choice  variety  for  decoration.  It  should  always 
be  polished  with  a  glass  brush,  as  burnishing 
cheapens  the  effect. 

To  Band  China  with  any  degree  of  accuracy,  it 
will  be  necessary  to  use  a  wheel  manufactured  for 
the  purpose.  The  disk  which  holds  the  ware  re- 
volves upon  a  pivot,  while  the  brush,  dipped  in 
gold,  is  held  firmly  over  it.  The  point  resting 
upon  the  plate  in  position — to  describe  circles  or 
bands  as  the  wheel  turns.  Considerable  practice 
is  required  to  make  this  difficult  process  a  success. 

Burnishers  come  in  different  sizes  ;  are  straight, 
round  and  curved,  mounted  in  brass  ferrules,  at- 
tached to  wooden  handles.  Select  only  those 
which  are  absolutely  perfect.  They  are  the  least 
expensive  in  the  end. 

A  defective  tool  will  deface  the  gold,  and  will 
require  re-gilding. 

The  ware  to  be  burnished  should  be  held  with 
a  cloth,  and  the  gold  frequently  cleansed  with 
magnesia  or  whiting,  to  remove  the  dust  and 
moisture  constantly  accumulating. 

The  burnisher  must  be  held  with  a  slight  pres- 
sure, working  as  much  as  possible  in  the  same 
direction. 

It  is  very  necessary  to  have  a  piece  of  leather 
(tacked  over  a  grooved  block),  upon  which  whiting 
or  burnishers'  putty  has  been  sprinkled,  to  polish 


38 


the  tool,  as  it  becomes  heated  by  friction,  causing 
it  to  slip  over  the  gold.  It  also  facilitates  the 
operation,  which  consists  wholly  in  removing 
scratches. 

When  all  imperfections  have  been  obliterated, 
the  surface  will  present  a  fine,  even  lustre. 

Polishing  with  a  spun  glass  brush,  encased  in 
twine,  is  a  more  simple  process,  requiring  neither 
patience  nor  skill  to  brush  back  and  forth,  giving 
to  the  raised  effects  (if  any)  a  more  thorough 
polishing,  to  produce  a  greater  degree  of  brilliancy, 
and  vary  the  finish  of  the  gold.  This  process  is 
preferable  to  burnishing,  for  Royal  Worcester 
decorations. 

The  imported  fine  gold  work  is  finished  in  this 
manner.  Gloves  will  protect  the  hands  from  the 
particles  of  glass,  which  are  constantly  falling 
from  the  brush  when  in  use. 

The  frosted  gold  surface,  so  much  admired  on 
the  Royal  Worcester  ware,  is  easily  imitated,  by 
first  burnishing  the  gold,  then  firing  the  second 
time.  If  you  have  failed  in  producing  a  perfect 
surface,  finish  with  the  glass  brush,  which  should 
never  be  used  near  the  color  box,  as  the  small  par- 
ticles of  broken  glass  cling  tenaciously,  and  develop 
after  firing ;  no  retouching  can  remove  them. 

Gold  should  be  fired  rose-color  heat.  If  short- 
fired,  it  will  rub  off  if  any  attempt  is  made  to 
polish  it.  If  fired  properly,  it  will  appear  a  soft 
matt  yellow  color,  and  is  very  susceptible  to  the 
finishing  process. 


89 

If  fired  too  much — too  hard  is  the  term  which 
expresses  it  better — it  can  neither  be  burnished  or 
polished.    Regild  and  fire  again. 

Amateurs  are  advised  to  gild  the  china  for  the 
first  firing,  retouching  it  for  the  second,  if  neces- 
sary. Only  skilled  experience  can  lay  gold  evenly, 
to  be  finished  for  one  firing.  This  does  not  apply 
to  working  gold  upon  color,  which  must  always 
be  fired  first. 

Hard  or  unfluxed  gold  is  exclusively  prepared 
for  over  color,  as  the  flux  in  the  color  is  sufficient 
for  both. 

Matt  or  fluxed  gold  is  used  for  banding  china, 
handles,  and  general  gold  decorations,  to  be  ap- 
plied direct  upon  the  plain  surface  of  the  ware. 
It  should  also  be  used  over  relief  paste,  and  can 
be  applied  to  the  underglaze  blue  ware,  success- 
fully. 

Red  and  green  gold  can  be  worked  over  color, 
also  direct  upon  the  ware.  They  make  beautiful 
color  combinations,  with  matt  gold,  for  the  yellow 
variety. 

In  case  the  gold  has  blistered  in  firing,  from 
having  been  laid  too  heavy  in  places,  or  made  too 
rich  with  fat  oil,  very  carefully  remove  the  rough- 
ness with  the  finest  quality  of  emery  cloth — 
No.  oo  — reduced  still  finer  by  rubbing  two  pieces 
together,  in  order  not  to  scratch  the  remaining 
gold.  This  cautiously  completed,  apply  the  gold 
(regular  consistency)  smoothly  over  the  defects, 
blending  it  at  the  edges. 


go 


Your  greatest  care  will  not  hide  repairs,  making 
it  necessary  to  consider  every  requirement  before 
laying  the  gold.  Try  to  succeed  in  getting  an 
even  surface,  with  the  first  stroke  of  the  brush, 
and  not  go  back  to  retouch  it. 

Liquid  gold,  although  less  expensive,  often 
proves  to  be  more  costly  in  the  end.  It  should 
never  be  used  over  Royal  Worcester,  spreading, 
as  it  will,  upon  these  absorbent,  soft  colors. 

In  the  hands  of  decorators,  in  factories,  where  a 
cheap  grade  of  gilding  is  required,  good  effects 
are  very  creditably  produced,  owing  to  their  pro- 
fessional skill  ;  while  with  amateurs,  more  or  less 
uncertain,  and  experimenting,  besides  not  using 
proper  care  to  remove  errors  (which  should  always 
be  done  with  soap  and  water),  are  greatly  surprised 
to  find  their  china  disfigured  with  unsightly  spots 
of  purple— after  firing — which  can  only  be  re- 
moved with  acid. 

When  several  pieces,  decorated  with  liquid  gold 
are  fired,  the  steam,  which  arises,  often  endangers 
the  brilliancy  of  the  colors,  and  greatly  reduces 
the  chances  for  glazing  them.  The  mediums  for 
this  gold  must  be  very  carefully  added,  or  it  will 
come  from  the  kiln  resembling  crackled  copper. 
Retouching  at  this  stage  will  not  restore  it. 

If  the  burnished  gold  is  polished  when  first 
taken  from  the  kiln  (even  while  hot),  it  will  more 
readily  yield  to  the  burnisher,  or  the  glass  brush, 
producing  a  higher  lustre  when  completed. 

Gold  must  be  free  from  moisture  before  firingj 
and  do  not  wrap  it  in  cotton,  when  it  can  be 


9i 


avoided,  as  it  roughens  the  surface.  When  it  is 
hard  dry,  it  can  be  handled  same  as  dry  colors, 
on  china.    Waxed  paper  is  a  better  substitute. 

The  Hungarian  and  Vienna  ware,  Royal  Wor- 
cester, and  Doulton,  are  all  rich  in  gold  decora- 
tions, and  are  fine  examples,  offering  many  sug- 
gestions for  combining  gold  with  color,  as  applied 
by  the  skilled  designers  and  decorators  of  those 
manufactories. 


f@ish. 

The  similarity  of  treatment  for  all  fish  would 
necessitate  constant  repetition  if  details  were  en- 
tered into  for  each  particular  plate  ;  and,  to  avoid 
this,  No.  i  will  be  carefully  explained,  and  the 
different  stages  of  painting  can  be  practically 
adapted  to  the  others — the  only  change  will  be  in 
the  variety  of  colors  used,  as  the  species  of  fish 
may  suggest. 

The  process  is  systematic  in  the  extreme,  begin- 
ning with  : 

1.  — Washing  in  of  the  foundation  colors,  using 
the  stippler  to  soften  the  effect. 

2.  — Shading  and  modeling  with  the  stippler. 

3.  — Glazing  the  colors  underneath  with  tints 
that  will  produce  an  even,  high  gloss  after  firing, 
rendering  transparency  to  the  work — absolutely 
necessary  in  fish  painting.  Make  a  thorough  study 
of  your  subject,  observe  the  different  character- 
istics of  the  fish,  and  see  that  your  drawing  is 
correct  in  every  particular. 

The  non-absorbent  surface  of  the  china  adds  to 
the  difficulty  of  fish  painting,  and  to  avoid  the 


93 


washing-  up  of  the  tints, .  as  the  different  layers 
of  colors  are  applied,  each  application  must  be 
quickly  laid  on. 

Do  not  overcharge  your  brush  with  color  too 
moist ;  and,  above  all,  do  not  hesitate  and  go  back 
to  repeat  the  work,  but  persevere  to  the  end,  then 
consider  the  result.  If  the  white  china  has  asser- 
ted itself,  the  most  expeditious  way  to  get  rid  of 
it  is,  by  removing  the  remaining  color  and  begin 
again,  unless  you  are  an  expert  at  stippling.  To 
patch,  by  laying  on  color,  is  seldom,  if  ever  satis- 
factory. 

When  the  washes  can  be  applied  broad  and  flat, 
use  a  square  shader,  that  will  cover  the  surface 
evenly.  With  a  steady  sweep,  you  can  regulate 
the  quantity  of  color  in  the  brush,  and  also  ascer- 
tain whether  you  have  the  tint  desired,  by  repeated 
strokes  upon  the  palette. 

The  colors  prepared,  brushes  cleaned,  a  perfect 
freedom  from  dust,  and  we  are  now  ready  to 
begin  with  the  work  in  hand. 


No.  i. 


[^uteriaU  and  ©olors  l^eqiiipei)  for 
f®Uh  Painting. 

Materials. — Bottle  of  tinting-  and  painting  oil  ; 
clove  oil  ;  fat  oil  ;  turpentine  ;  tar  paste  ;  and  tar 
oil  for  relief  paste. 

Brushes. — Grounding  brush ;  two  square  shaders; 
two  round  shaders  ;  two  stipplers — Nos.  5  and  6  ; 
three  tracers — Nos.  1,  2  and  3. 

Colors.  —  Relief  paste  ;  Aufsetzweis  ;  ivory 
black  ;  gray,  Nos.  1  and  2  ;  neutral  gray  ;  car- 
mine No.  1  ;  victoria  blue  ;  brown-green  No.  6  ; 
deep  chrome  green  ;  dark  green  No.  7,  brown 
No.  4  ;  yellow-brown  ;  ivory  yellow  ;  jonquil  yel- 
low ;  yellow  ochre  ;  violet  of  iron. 

The  design  of  this  set  in  china,  is  called  the 
"  claudia  " — well-adapted  for  fish  and  game.  The 
band  and  line  are  raised  upon  the  ware,  while  the 
grasses  which  surround  the  plate  are  depressions, 
making  it  very  easy  to  follow  with  gold. 

Treatment  for  No  1. — First  cover  the  surface 
with  a  thin  wash  of  turpentine  ;  when  dry,  make 
a  careful  outline  drawing  of  the  fish,  weeds,  etc., 
with  India  ink — it  is  less  liable  to  rub  off,  in  case 
of  corrections — and  they  should  all  be  made,  be- 
fore applying  the  background,  which  is  gray  No.  1, 
adding  one -fourth  flux  (all  grays  require  this  pro- 


96 

portion  to  flux  them)  ;  then  pounce  it  evenly. 
The  design  is  now  clearly  visible  through  the  tint ; 
cover  it  with  tar  paste  ;  after  a  few  moments, 
remove  it  with  a  quick,  upward  stroke,  using 
small  wads  of  cotton,  and  changing  them  often. 
The  spaces  left  in  white  are  ready  for  the  first 
painting. 

The  mediums  arc  equal  proportions  of  clove  oil, 
and  fat  oil,  well  mixed,  and  incorporated  thor- 
oughly with  the  colors,  which  are  diluted  with 
turpentine,  into  working  condition,  using  just 
enough  to  have  them  flow  smoothly. 

Professional  decorators  will  finish  the  work,  all 
for  one  firing,  unless  paste  and  gold  are  used,  then 
two  firings  are  always  required.  Amateurs  arc 
not  expected  to  accomplish  as  much,  while  it  is 
advisable  to  complete  the  painting  as  far  as  pos- 
sible for  the  first  firing. 

The  foundation  color,  for  the  upper  part  of  the 
fish,  is  a  combination  of  two  parts  of  sky  blue  to 
one  part  of  neutral  gray,  thoroughly  mixed. 
Flatten  the  brush  upon  the  palette  ;  take  up  the 
color,  keeping  it  on  the  underside  of  the  brush, 
and  lay  on  the  tint,  full  strength,  beginning  at  the 
tail,  and  widening  the  stroke,  as  you  approach  the 
head,  blending  and  losing  the  color  as  you  reach 
the  center,  towards  the  lower  part  of  the  body,  and 
leaving  the  white  china  to  supply  the  lights. 

This  produces  a  silver  gray  local  color,  and  its 
graduated  tints  are  stippled  with  a  small  fitch-hair 
stippler  into  roundness — not  by  force,  but  blended 
and  modeled  delicately.    The  transparency,  light, 


97 


and  shade,  all  depends  upon  the  intelligent  ma- 
nipulation of  the  stippler.  It  is,  indeed,  the  critical 
turning  point  of  the  entire  process. 

If  you  do  not  succeed  in  giving  form  to  the  fish, 
and  your  work  looks  flat,  rub  it  out,  and  repeat  the 
painting  ;  as  there  is  a  likeness  of  a  fish  to  be 
secured,  you  must,  at  least,  obtain  some  resem- 
lance  to  it. 

The  upper  fins,  and  tail,  are  laid  in  with  equal 
proportions  of  brown  No.  4  and  neutral  gray,  and, 
when  dry,  shaded  with  two  parts  of  ivory  black, 
thoroughly  mixed  with  one  part  of  brown  No.  4. 

Fins  next  to  the  gills  are  covered  with  a  delicate 
wash  of  brown  No.  4  and  shaded  with  the  same. 

Lower  Fins. — Carnation  No.  1,  adding  a  very 
little  ochre  to  it,  to  soften  the  tone  ;  when  dry, 
shade  with  one  part  of  carnation  No.  1,  and  two 
parts  of  brown  No.  4.  Model  the  fins  with  this 
shading  tint,  by  laying  it  on  in  broken  strokes. 

Outline  the  upper  part  of  the  fish,  mouth,  eyes 
and  the  gills,  also  the  irregular  line,  extending 
from  the  head  to  the  tail,  with  ivory  black. 

When  thoroughly  dry,  outline  the  lower  part  of 
the  body,  and  indicate  the  scales,  with  gray  No.  1, 
modifying  the  strength,  as  you  approach  the  lights 
below,  with  the  same  color  ;  add  touches  around 
the  eyes  and  mouth,  and  put  in  the  eye  with  ivory 
black  and  a  little  sky  blue  added.  Take  out  the 
color  around  the  eyes  and  gills,  and  on  the  line 
of  the  mouth,  and  lay  in  a  thin  wash  of  carnation 
No.  1.     The  markings  are  ivory  black. 


98 


Center  of  the  shell — apple  green,  blended  into 
violet  of  iron,  and  neutral  gray,  towards  the  out- 
side edge  ;  on  the  turned  edge,  use  neutral  gray 
and  sky  blue  mixed  ;  shaded  with  brown  No.  4. 

The  lighest  effect  of  the  sea-weeds  are  yellow 
ochre  and  violet  of  iron,  shaded  with  brown  No. 
4  ;  cover  the  net  with  relief  paste,  and  it  is  now 
ready  for  the  first  strong  firing. 

Second  Painting. 

Follow  the  upper  outline  of  the  back  with  a  thin 
wash  of  ivory  black,  beginning  at  the  head,  and 
narrowing  the  stroke  towards  the  tail  ;  adjoining 
this,  place  another  row  of  the  same  color,  diluted 
into  delicacy  ;  the  third  row  below  this — about 
the  center  of  the  fish — is  washed  in  thinly,  with 
gray  No.  1,  which  forms  the  shading  tint  for  the 
white,  and  extends  almost  over  the  lower  part  of 
body,  leaving  the  china  for  the  lights.  Stipple 
and  model  very  carefully  these  tints  into  delicacy  , 
and  fire  the  second  time. 

The  last  painting  consists  of  gin  zing,  and  re- 
touching. Cover  the  upper  part  with  deep  chrome 
green,  softened  towards  the  center  with  the  brush  ; 
over  this  a  quick,  transparent  wash  of  brown  No.  4, 
to  strengthen  the  shading,  and  also  to  complete 
the  rounding  of  the  fish.  Stipple  evenly  into 
smoothness,  and,  when  thoroughly  dry,  go  over 
the  entire  upper  part  with  sky  blue,  very  thinly 
laid  on,  and  softened  towards  the  center  with  yel- 
low ochre. 


99 

The  same  color  to  be  applied,  on  the  fins,  tail, 
and  around  the  eyes.  Shade  the  mouth  with 
brown  No.  4  ;  strengthen  the  scales  with  gray  No. 
1,  and  the  dark  touches,  or  markings,  with  ivory 
black. 

This  may  seem  very  difficult,  and  it  is,  unless 
you  keep  your  washes  diluted,  so  that  they  will 
flow  freely  from  the  brush,  for  quick,  rapid 
strokes.  Then,  again,  if  you  have  them  too  thin, 
they  will  infringe  upon  the  other  colors.  Experi- 
ment upon  your  tile,  and  while  you  may  expect  a 
reasonable  amount  of  success  in  the  beginning, 
you  cannot  master  the  over-laying  of  moist  colors 
successfully  without  first  giving  them  repeated 
trials.  It  is  worth  the  effort,  as  it  is  the  only  way 
by  which  the  rich,  transparent  depth  of  coloring- 
can  be  secured,  for  fish,  fruit,  flowers,  etc. 

To  complete  the  Painting. — Lay  on  touches  of 
Aufsetzweis  enamel  for  the  high  lights  on  the 
scales  and  body,  and  a  dot  on  the  eye — do  not 
make  them  too  prominent. 

The  high  light  on  the  shell,  and  the  water  lines, 
are  hard  gold.  Cover  the  relief  paste,  and  edge 
the  plate,  band,  line,  and  indentations,  with  matt 
gold  ;  regular  kiln  fire.  This  treatment  for  gold 
and  enamel  will  apply  to  the  entire  set,  and  will 
not  be  repeated.  Polish  the  gold  with  a  glass 
brush. 


IOO 


No.  2. 


101 


(fpeatment  for9  Pk>.  2. 

No.  2. — Background — celadon  gray.  Follow  the 
directions  given  for  No.  i,  throughout  the  entire 
set,  when  the  treatment  for  fish  is  not  mentioned. 

Upper  part  of  shell — victoria  blue,  with  a  touch 
of  ruby  purple,  graduated  into  brown-green  No.  6, 
and  jonquil  yellow  at  the  bottom  ;  shaded  with 
brown  No.  4  ;  dark  grasses — violet  of  iron  ;  heavy 
weeds,  showing  dark  in  the  study,  are  relief  paste. 


1<)2 


No.  3. 


103 


fVecrtment  for  P\o.  5. 

No.  3. — Background — pearl  gray,  one-fourth 
flux! 

Shell. — Foundation — yellow  ochre,  with  a  touch 
of  brown  No.  4  added  ;  the  inside  of  shell — violet 
of  iron,  and  shaded  with  brown  Xo.  4  and  dark 
green  No.  7. 

Dark  Weeds — brown  No.  4  and  violet  of  iron. 

Liodit  effects — brown  srreen  No.  6  and  violet  of 
iron.    Hook  and  line  are  relief  paste. 


No.  4. 


105 


Cpeatment  fci9  P\o.  4. 

No.  4. — Background — pearl  gray,  with  the  ad- 
dition of  a  little  brown-green  No.  6. 

Shell. — Carmine  No.  i,  and  sky  blue,  blended  into 
brown-green  No.  6,  and  yellow  ochre,  producing 
an  iridescent  effect ;  shaded  delicately,  with  brown- 
green  No.  6,  and  brown  No.  4,  mixed. 

Upper  Grasses. — Foundation — yellow  ochre  and 
brown-green  No.  6  ;  shadows— yellow  ochre  and 
violet  of  iron. 

The  stem,  and  strong  touches,  are  violet  of  iron. 
Weeds,  growing  out  of  the  shell,  are  laid  in  with 
relief  paste. 


No.  5. 


fo7 


Cpcafment  foi9  P\c.  § 

No.  5 . —  Background — a  combination  of  blue- 
green,  apple  green,  and  yellow  ochre  ;  one-third 
flux. 

Shell. — Foundation — yellow  ochre,  adding  brown 
No.  4  for  shading  ;  center — violet  of  iron,  laid  on 
very  delicately,  towards  the  outside  edge,  and 
shaded  with  neutral  gray  ;  upper  weeds — carna- 
tion No.  i  ;  use  violet  of  iron  for  shading. 

Dark  Weeds. — Olive  green,  and  brown  No.  4, 
shading  witn  brown  No.  4. 

Weeds  above  the  Shell. — Brown-green  No.  6  and 
violet  of  iron  ;  those  growing  out  of  the  shell  and 
extending  over  the  head  of  the  fish,  and  under  it, 
is  laid  in  with  relief  paste. 


ioS 


No.  6. 


log 


<ft*eatment  for  P\o.  6. 

No.  6.  —  Background  —  steel  gray  ;  flux  one- 
fourth. 

Shell. — Foundation — carnation  No.  i,  shaded 
with  violet  of  iron,  and  brown  No.  4  ;  dark  shad- 
ows— brown  No.  4,  and  dark  green  No.  7. 

Weeds. — Neutral  gray  and  brown  No.  4.  Those 
attached  to  the  shell  are  relief  paste. 


no 


No.  7. 


Ill 


Cpeatment  fop  P\c.  7. 

No.  7. — Background — neutral  gray,  and  light 
sky  blue,  mixed  thoroughly. 

Fish. — Foundation — a  thin  wash  of  brown-green 
No.  6,  blended  down,  into  brown  No.  4,  and  losing 
the  tint  towards  the  lower  part  of  the  body  ;  stipple 
carefully.  Treatment  of  the  head,  fins,  tail,  eye, 
scales,  markings,  and  outlining,  including  the  line 
extending  the  length  of  the  body,  same  as  No.  1. 

Shell  — Deep  chrome  green,  blended  with  yellow 
ochre,  and  shaded  with  dark-green  No.  7  and  yel- 
low ochre  ;  ivory  black,  and  dark  green  No.  7,  for 
strong  touches. 

Weeds. — Neutral  gray.  By  adding  brown-green 
No.  6,  violet  of  iron,  and  brown  No.  4,  in  different 
proportions,  you  will  secure  the  soft  gradation  of 
tints,  clearly  shown  in  the  design.  Cover  the  net 
with  relief  paste,  and  give  a  strong  fire. 

Second  Painting. — Over  the  top  of  the  fish — a 
thin  wash  of  deep  chrome  green,  and  strengthen 
the  shading  with  brown  No.  4  ;  the  markings  with 
ivory  black,  and  the  scales  gray  No.  1,  graduating 
the  strength  of  the  color,  into  delicacy,  as  you 
approach  the  lights,  and  finish  with  enamel,  etc., 
same  as  No.  1. 


112 


No.  S. 


H3 


(treatment  foi9  P\o.  6. 

No.  8. — Background — turtledove  gray. 

Fish. — Foundation  color  for  the  top  extending 
to  the  center  of  the  body — is  composed  of  one  part 
deep  chrome  green,  with  three  parts  of  neutral 
gray,  thoroughly  mixed,  laid  on  delicately  ;  over 
this,  a  quick  pale  wash  of  yellow  ochre,  with  a  little 
chrome  green  added  ;  stipple  and  model  carefully. 
Head,  scales,  fins,  eye,  tail,  etc.,  same  as  No.  i. 

Shell. — Outside — yellow  ochre,  and  violet  of 
iron,  shading  with  brown  No.  4,  modified,  for  light 
and  dark  touches  ;  center — violet  of  iron,  shading 
with  apple  green  and  brown  No.  4. 

Weeds  on  the  right — brown  No.  4,  applied  deli- 
cately, and  with  full  strength  for  the  dark  effects  ; 
those  growing  out  of  the  shell  are  relief  paste. 
Now  ready  for  the  first  firing.  Shading  and 
finishing  fish,  same  treatment  as  No.  i„ 


H4 


H5 


(fVeafment  for5  P\o.  9. 

No.  9. — Background — one  part  of  yellow  ochre, 
to  two  parts  of  turqnois  blue,  with  a  touch  of  ruby 
purple. 

Foundation  of  Fish — a  thin  wash  of  brown  No. 
4,  on  the  upper  part,  and  blended  into  a  delicate 
tint  of  carnation  No.  i,  to  the  center  of  the  fish, 
and  stippled  into  ivory  yellow,  very  pale,  towards 
the  lower  part  of  the  body,  all  softened,  and 
modeled  into  roundness.  When  perfectly  dry,  finish 
head,  fins,  tail,  eye,  scales,  and  outlining,  same  as 
No.  1.  The  strong-  markings  are  ivory  black,  be- 
low this  capucine  red,  and,  for  medium  touches, 
use  neutral  gray.  Inside  of  the  mouth — carnation 
No.  1  shaded  with  carnation,  and  brown  No.  4. 

Shell. — Victoria  blue,  blended  into  yellow  ochre, 
shaded  with  dark  green  No.  7,  and  yellow  ochre  ; 
center — ivory  yellow,  shaded  with  brown-green 
No.  6.  • 

Grasses. — Ruby  purple  for  dark  effects  ;  those 
extending  over  the  fish  are  relief  paste.  Ready 
for  the  first  fire.  Strengthen  the  top  of  the  fish 
with  a  transparent  wash  of  brown  No.  4,  shaded 
with  ivory  black,  stipple  evenly  and  finish  same 
as  No.  1. 


No.  10. 


H7 


<fpeaiment  for5  Plo.  10. 

No.  io. — Background — turtledove  gray,  flux  one- 
fourth. 

Treat  the  upper  part  of  the  fish  with  a  trans- 
parent wash  of  deep  chrome  green,  shaded  with 
dark  green  No.  7,  blended  towards  the  lower  part 
of  the  body  with  gray  No.  1,  to  produce  the  silvery 
tones,  predominating  in  mackerel. 

Stipple  and  model  delicately.  The  markings 
on  the  side  and  the  upper  out-line  are  laid  in  with 
ivory  black.  Head,  fins,  tail,  eye,  scales,  etc.,  same 
as  No.  1. 

Shell,  outside. — Chrome  green,  shaded  with  olive 
green  and  dark  green  No.  7  ;  center — violet  of 
iron,  shading  with  brown  No.  4. 

Grasses. — Neutral  gray  and  brown  No.  4  ;  violet 
of  iron  and  brown  No.  4  for  the  darkest  ;  the  light 
gray  effects  are  laid  in  with  relief  paste.  Ready 
for  the  first  fire.. 

Strengthen  the  shading  on  the  top  of  the  fish 
and  the  markings  with  ivory  black  ;  and  finish 
same  as  No.  1. 


H9 


^Treatment  fop  P\o.  II. 

No.  ii. — Background — steel  gray. 

Fish. — Foundation  color — three  parts  of  sky 
blue,  to  one  part  of  neutral  gray,  thoroughly  mixed, 
blended  into  ivory  yellow  towards  the  center,  and 
followed  with  carnation  No.  i.  Model,  and  soften 
with  the  stippler.  Head,  outlining,  eye,  scales, 
etc.,  same  as  No.  i. 

Shell,  outside. — Ivory  yellow  ;  first  shading — 
brown-green  No.  6  ;  second  shading — brown  No. 
4,  with  the  addition  of  a  little  yellow  ochre. 

Upper  Dark  Weed. — Brown-green  No.  6,  shaded 
with  yellow  ochre. 

Light  Weed. — Ivory  yellow,  shading  with  violet 
of  iron  and  touches  of  brown-green  No.  6. 

Grasses. — Neutral  gray  and  violet  of  iron,  for 
strong  effects.  The  heavy  grasses,  extending  to- 
wards the  center  of  plate  are  relief  paste  ;  ready 
for  first  fire. 

The  upper  part  of  the  back  is  strengthened  with 
brown  No.  4:  softly  blended  over  this,  a  thin  wash 
of  ivory  black  ;  the  heavy  markings  are  ivory 
black  ;  next  in  strength,  capucine  red  ;  the  light 
effects — brown  No.  4,  delicately  applied.  Com- 
pleted same  as  No.  1. 


No.  12. 


121 


<freatment  for  P\c.  12. 

No.  12.  —  Background  —  warm  gray,  flux  one- 
fourth. 

Fish,  upper  part. — A  delicate  wash  of  brown- 
green  No.  6,  blended  into  ivory  yellow,  towards 
the  lower  part  of  the  body  ;  mix  brown-green  No. 
6,  and  dark  green  No.  7,  for  shading,  laying  it  over 
the  foundation  color,  and  stipple  into  roundness 
and  delicacy.  The  dark  shading,  or  touches,  are 
ivory  black.  The  scales,  fins,  tail,  eye,  and  out- 
lining the  same  as  No.  1. 

Shell. — Ivory  yellow,  shaded  with  brown  No.  4  ; 
center — light  sky  blue,  blended  into  yellow  ochre, 
and  brown-green  No.  6. 

Weeds. — Brown-green  No.  6,  shading  with  dark 
green  No.  7  ;  on  the  left  and  extending  towards 
the  center  of  the  plate,  is  a  combination  of  violet 
of  iron,  and  neutral  gray,  laid  in  very  delicately  ; 
the  darkest  effects — violet  of  iron  ;  hook  and  line — 
relief  paste.  Give  a  strong  fire.  Strengthen  the 
shading  on  fish,  and  finish  same  as  No.  1. 


No.  13. 


123 


fVealment  for  P\o.  15. 

No.  13. — Background — steel  gray,  one -fourth 
flux. 

Grasses. — Dark  green  No.  7,  brown-green  No.  6, 
and  neutral  gray  ;  use  violet  of  iron  for  the  darkest 
effects.  This  combination  to  be  modified  in 
strength,  to  give  the  variety  of  tones,  as  clearly 
indicated  in  the  study.  Model  the  net  with  relief 
paste. 


124 


No.  14.    Tray  for  Sauce-Boat. 


125 

treatment  for  P\o.  14. 

No.  T4. — Background — turtledove  gray. 

Fish  on  the  Right. — Upper  foundation — violet 
of  iron,  blended  into  neutral  gray  toward  the  center, 
losing  the  tint  on  the  lower  part  of  the  body,  leaving 
the  white  china  for  the  lights  ;  stipple  evenly. 

When  dry,  shade  upper  part  of  fish  with  the 
under  foundation  colors,  used  full  strength. 

The  outline  and  shading  tint  on  the  upper  part, 
also  the  tracing  of  the  fins,  gills  and  scales,  is  a 
combination  of  three  parts  of  carnation  No.  i 
with  one  part  of  neutral  gray. 

Second  shading  on  the  upper  part — violet  of  iron, 
with  a  touch  of  brown  No.  4.  On  the  lower  side,  use 
gray  No.  1,  to  strengthen  the  shading.  Touches  of 
ivory  yellow  on  the  tail  and  fins,  adding  very  little 
brown-green  No.  6,  to  produce  the  iridescent  effect. 

Outline  the  e}re  with  ivory  black,  with  a  touch  of 
sky  blue  added  for  the  pupil.  The  lower  outline 
of  the  body  and  shading  is  laid  in  with  light  gray 
No.  1  ;  lights  on  the  scales,  and  eye — Aufsetzweis 
enamel. 

Fish  on  the  Left. — Upper  foundation — three 
parts  of  victoria  blue,  with  one  part  of  neutral  gray, 
followed  with  ivory  yellow,  delicately  blended 
into  violet  of  iron,  and  light  gray  No.  1. 

Head — dark  green  N0.7,  softened  into  grass  green 
and  mixing  yellow.  Scales,  outlines,  tail,  fins,  and 
eye — same  as  No.  1  ;  lights — Aufsetzweis  enamel. 

Grasses — violet  of  iron  and  neutral  gray,  modi- 
fied with  brown-green  No.  6  for  strong  effects. 


126 


^peatmeni  for  P\o.  I§. 

No.  15. — Background — turtledove  gray  ;  founda- 
tion color  for  the  upper  part  of  the  fish — two  parts 
of  sky  blue,  mixed  with  one  part  of  neutral  gray. 
Begin  at  the  head  and  narrow  the  stroke  towards 
the  tail  ;  follow  with  gray  No.  1,  extending  it 
towards  the  lower  part  of  the  body,  using  the 
same  for  scales  and  lower  outline  ;  upper  outline — 
ivory  black.  The  fish,  fins,  gills,  eye,  scales,  etc., 
are  finished  same  as  No.  1.  Lay  in  the  mouth 
with  violet  of  iron,  shaded  with  brown  No.  4. 

Fish  on  the  opposite  side  of  the  boat — thin  wash 
of  brown-green  No.  6,  blended  down  into  brown 
No.  4,  and  losing  the  tint  towards  the  lower  part 
of  the  body  ;  stipple  carefully.  Treatment  of  the 
head,  fins,  tail,  scales,  marking  and  outlining, 
including  the  line  extending  the  length  of  the 
body,  same  as  No.  1.  Handle  treated  solidly  with 
matt  gold. 

Violet  of  iron,  in  combination  with  either  yellow 
ochre,  ruby  purple,  brown  No.  4,  dark  green  No. 
7,  and  brown-green  No.  6,  produces  a  pleasing 
variety  for  sea-weeds.  Carnation  No.  1,  using 
gray  No.  1  for  outlining  and  shading,  imitates,  very 
closely,  the  soft,  pink  sea-weeds. 


128 


Soft-Shell  Crab. —  Upper  part  of  the  body — a 
delicate  wash  of  deep  chrome  green,  graduated  into 
dark  green  No.  7  and  brown-green  No.  6,  extend- 
ing to  the  ends  of  the  claws,  which  are  edged  with 
carnation  No.  1  and  shaded  with  violet  of  iron. 

When  dry,  soften  the  colors  on  the  back  with 
mixing  yellow  and  grass  green,  thoroughly  mixed  ; 
on  the  lower  part  of  the  body,  lay  a  delicate  wash 
of  ivory  yellow  and  brown  No.  4  ;  touches  of  blue- 
green  around  the  eyes  and  on  the  claws.  Deep 
markings — dark  green  No.  7  ;  give  a  strong  fire. 

Lobster. — On  the  shadow  side,  tail,  and  large 
claws,  apply  ivory  black,  blended  into  brown  No. 
4  and  violet  of  iron  ;  stipple  smoothly.  The  high 
lights  are  left  to  be  filled  in  delicately,  with  a  wash 
of  sky  blue  and  neutral  gray,  which  extends  over 
the  shadow  color,  adding  brown  No.  4  for  the  tail 
and  claws  ;  using  carnation  No.  r,  worked  into 
ivory  yellow,  and  touched  with  yellow  ochre, 
where  the  claws  connect  with  the  body. 

When  dry,  cover  the  shadow-color  with  a  wash 
of  deep  chrome  green,  delicately  worked  into  yel- 
low ochre,  which  glazes  the  under-colors  in  firing, 
rendering  them  more  transparent. 

Eyes — outlined  with  ivory  black  ;  iris — ivory 
yellow,  touched  with  yellow  ochre,  and  violet  of 
iron  ;  joints  and  feelers — yellow  ochre,  shaded 
with  violet  of  iron,  adding  brown  No.  4  for  the 


129 

darkest  shadows  on  the  joints,  and  dark  green  No. 
7  for  the  green  touches  ;  Aufsetzweis  for  the  high 
lights.    Strong  fire. 

Oyster  vShells. — Outside  edge — light  sky  blue, 
worked  in  with  very  little  carmine  No.  i,  and 
graduated  into  yellow  ochre  and  ivory  yellow, 
which  extends  to  the  shading  tint  surrounding 
the  eye — composed  of  one  part  of  ruby  purple  to 
four  parts  of  neutral  gray. 

Touches. — On  the  outside  edge — neutral  gray 
and  sky  blue.  These  tints  are  delicately  laid  in, 
and  blended  with  the  dabber. 

When  perfectly  dry,  lay  in  the  foundation  of  the 
eye  with  ivory  black,  leaving  the  lights,  which  are 
touched  in  with  violet  of  iron,  yellow  ochre,  brown 
No.  4,  and  sky  blue — all  thinly  applied. 

Foundation. — For  back  of  shell — neutral  gray, 
worked  in  with  yellow  ochre,  sky  blue,  and  brown- 
green  ;  dark  green  No.  7,  and  brown  No.  4,  for 
deep  shadows.  By  dipping  the  shell  in  water  you 
can  follow  the  colors  more  easily. 

Oyster  Plates,  with  divisions,  will  utilize  this 
treatment  to  excellent  advantage. 


tffVeutment    of  j^iPcU, 


WITH   DECORflTIYE  COLORING. 

Paraquets. — Foundation  color  for  the  breast — 
moss  green  and  mixing  yellow  ;  first  shading- — 
chrome  green  and  brown-green  No.  6  ;  second 
shading — brown-green  No.  6  and  dark-green  No.  7. 

Front  of  the  head,  and  neck,  below  the  bill — 
ivory  yellow,  shaded  with  orange  yellow;  back  of 
the  head — olive  green,  with  shadings  of  brown- 
green  No.  6  and  dark  green  No.  7. 

Wings  and  Tail.  —  Foundation  —  deep  blue, 
strengthened  with  ivory  black  ;  for  the  shadows 
and  feather  markings  on  the  tail — brown-green 
No.  6  and  yellow  ochre,  with  touches  of  dark 
green  No.  7.  Cut  out  the  lights  with  an  erasing- 
pin. 

Outline  the  bill  with  gray  No.  2,  the  eye  with 
ivory  black,  also  the  marking  on  the  legs  and 
claws,  adding  brown  No.  4  for  shading.  The 
feathers  on  the  wings  are  traced  in  with  ivory 
black.    Give  a  regular  kiln  fire. 


131 


Peacock.  —  Head  —  deep  blue,  extending-  into 
chrome  green  for  the  body  and  strengthen  with 
dark  green  No.  7  and  brown-green  No.  6;  under- 
part  of  the  tail  is  laid  in  with  yellow  ochre  and 
neutral  gray;  upper  part  is  a  combination  of  grass 
green  and  mixing  yellow,  shading  with  brown- 
green  No.  6  and  dark  green  No.  7. 

The  markings  or  eyes  on  the  tail  are  deep  blue, 
shading  the  lower  part  with  ivory  black,  and, 
below  this,  a  ring  of  yellow-brown,  touched  with 
brown-green. 

Wings — yellow  ochre,  shaded  with  brown  No.  4: 
feather  markings — brown  No.  4,  full  strength  ; 
legs,  claws,  and  eyes  are  outlined  with  ivory  black 
and  filled  in,  when  dry,  with  a  delicate  wash  of 
yellow  ochre  and  deep  chrome  green.  Cut  out 
the  lights  on  the  eyes,  and  tail  markings  with  an 
erasing-pin. 

The  feathers  can  be  indicated  clearly  by  taking- 
out  the  lights  in  the  same  manner.  The  red 
marking  near  the  eyes  is  carnation  No.  1.  The 
seven  feathers,  projecting  above  the  head,  are 
ivory  black. 

You  can  enrich  the  effect  in  using  gold  for 
feather  markings  and  high-lights.  Regular  kiln 
fire. 

Kingfisher.  —  Breast  —  carnation  No.  3,  shaded 
with  deep  red-brown  ;  back  and  tail — deep  blue  ; 
shadows  —  blue-green,  with   touches   of  yellow 


132 


ochre.  When  dry,  strengthen  the  shading  with 
ivory  black  and  brown  No.  4,  finishing  with 
touches  of  yellow  ochre  and  violet  of  iron. 

Eyes  and  bill — outlined  with  ivory  black,  with 
the  addition  of  sky  blue  for  the  local  coloring. 

Feathers  —  brown  No.  4  and  violet  of  iron, 
shaded  with  brown  No.  4  and  ivory  black  ;  neck, 
under  the  bill — carnation  No.  1,  shaded  with  gray 
No.  1,  leaving  the  china  for  the  lights.  Outline 
the  claws  and  legs  with  ivory  black ;  when  dry, 
cover  this  with  a  delicate  wash  of  yellow  ochre! 
Regular  kiln  fire. 

Hemp  Birds.  —  Head,  wings,  and  tail — laid  in 
very  delicately  with  ivory  black,  adding  brown 
No.  4  for  shadow  tint. 

Back,  breast  and  neck — jonquil  yellow,  adding 
orange  yellow  for  shading.  When  dry,  a  combi- 
nation of  brown-green,  with  yellow  ochre,  and  a 
touch  of  ruby  purple,  mixed  thoroughly,  is  laid  on 
for  the  gray  shading. 

Bill — orange  yellow,  outlined  with  brown  No.  4. 
Regular  kiln  fire. 

Owls.  —  Foundation,  for  the  body — light  gray 
No.  1 ;  wings  and  tail  are  laid  in  with  brown  No.  4 
and  violet  of  iron.  The  outline  of  the  bill  and 
eyes  are  ivory  black,  adding  brown  No.  4  for 
shading  the  wings. 


133 


Ears. — Yellow  ochre  and  violet  of  iron  ;  shadow 
tints — brown  No.  4  and  ivory  black. 

Eyes. — Pupil — Ivory  black  ;  iris — ivory  yellow, 
shaded  with  brown-green  No.  6.  Shading  for  the 
breast — ivory  black  and  brown  No.  4,  with  touches 
of  yellow  ochre  and  violet  of  iron. 

Outline  the  claws  and  legs  with  ivory  black  ; 
coloring — yellow  ochre.  Cut  out  the  lights,  and  in- 
dicate the  feathers  wTith  the  erasing  pin.  Regular 
kiln  fire.    Treatment  with  gold  will  be  effective. 


P\umming  JH>ipds  and  i§wallove>s. 


BLUE-TAILED  SYLPH. 

Head — dark  green  No.  7,  worked  into  chrome 
green  B. 

Neck — apple  green  and  mixing  yellow,  strength- 
ened into  chrome  green  and  brown-green,  for  the 
darker  tones. 

Below  the  bill — victoria  blue  and  light  violet 
of  gold. 

Wings — brown  No.  4  and  neutral  gray  for  the 
foundation,  and  shaded  with  brown  No.  4,  full 
strength.  The  feather  markings  and  outlines  are 
laid  in  with  the  same. 

Tail — victoria  blue  and  light  violet  of  gold, 
shaded  with  deep  violet  of  gold,  and  touched  with 
apple  green  and  carmine  No.  2.  Take  out  the 
color  for  the  light  near  the  eye. 

Bill  and  eyes — outlined  with  black  and  colored 
with  neutral  gray.  Cut  out  the  lights  on  the 
upper  part  of  the  wing  feathers,  and  fill  them  in 
with  silver  yellow. 


135 


Feet — outlined  with  black  and  colored  with 
neutral  gray  and  yellow  ochre. 

CRIMSON  TOPAZ. 

Neck — ruby  purple  ;  upper  part  of  the  back  and 
head,  violet  of  gold,  mixed  with  victoria  blue, 
shaded  with  two  parts  of  victoria  blue,  one-half  of 
ivory  black,  and  one  part  of  ruby  purple. 

Wings— 'deep  chrome  green  for  the  tips,  adding 
mixing  yellow  for  the  upper  part,  shaded  with 
brown-green  and  dark  green  No.  7,  with  touches 
of  yellow-brown  here  and  there. 

Tail — dark  green  No.  7,  using  victoria  blue  over 
it  for  touches. 

Bill — outlined  with  ivory  black,  colored  with 
neutral  gray  and  sky  blue.  Eyes  treated  in  the 
same  manner. 

KING  HUMMING  BIRD. 

Head  and  two  long  tail  feathers  are  violet  of 
gold  and  victoria  blue. 

Back — sepia,  shaded  with  brown  No.  4. 

Neck,  under  the  bill— apple  green  and  mixing 
yellow,  shaded  with  chrome  green  B  and  brown- 
green  No.  6,  touched  with  dark  green  No.  7. 

Breast — capucine  red,  strengthened  with  deep 
red-brown  for  shadows. 

Tail — yellow  ochre,  shading  with  sepia,  adding 
very  little  deep  red-brown. 


136 


Top  of  the  wings — yellow  ochre,  with  shadows 
of  brown-green  No.  6  ;  lower  part  and  tips,  violet 
of  gold,  shaded  with  ruby  purple  and  dark  green 
No.  7,  adding  touches  of  victoria  blue. 

Eyes  and  bill — outlined  with  ivory  black  ;  col- 
ored with  neutral  gray  and  sky  blue. 

Feet — yellow  ochre  and  neutral  gray,  outlined 
with  black. 

MEXICAN  STAR. 

Head  and  back — silver  yellow,  worked  into 
apple  green  and  shaded  with  brown-green  and 
yellow  ochre. 

Second  shading — dark  green  No.  7  and  chrome 
green  B  ;  the  star  feathers  radiating  from  the 
head,  near  the  eyes — ruby  purple,  shaded  with 
same,  full  strength  ;  below  the  eyes — victoria  blue  ; 
below  the  bill — clear  ruby  purple,  shaded  with 
the  same. 

Tail — chrome  green  and  dark  green  No.  7, 
shaded  with  dark  green. 

Breast — White,  shaded  with  neutral  gray  and 
sky  blue,  with  touches  of  yellow  ochre  and  brown 
No.  4  for  dark  shadows. 

Tip  of  the  wings — yellow  ochre  and  brown  No 
4  ;  shadows  —  brown  No.  4. 

Eyes  and  bill — outlined  with  black  and  colored 
with  neutral  gray  and  sky  blue. 


137 


Feet — yellow  ochre,  shaded  with  brown  No.  4, 
and  outlined  with  black  ;  high  lights  on  the  breast 
and  eyes — enamel  white. 

VERVAIN. 

Head — grass  green  mixed  with  mixing  yellow  ; 
back — blue-green,  delicately  worked  into  grass 
green  and  silver  yellow  ;  shading  with  blue-green 
and  brown-green  No.  6;  dark  shadows — blue-green 
and  dark  green  No.  7  ;  darkest  touches — brown 
Xo.  4. 

Wings — yellow  ochre  and  brown  No.  4,  shaded 
with  the  same. 

Tail — yellow  ochre  ;  shadows — sepia  and  car- 
nation No.  1  ;  dark  shading — brown  No.  4  and 
violet  of  iron. 

Neck — Same  as  the  back,  adding  touches  of 
deep  blue-green. 

Breast — white  ;  first  shading  —  sky  blue  and 
neutral  gray  ;  second  shading — yellow  ochre  and 
neutral  gray,  finishing  with  yellow  ochre  and 
brown  No.  4. 

Bill  and  eyes — outlined  with  ivory  black  and 
colored  with  neutual  gray  and  sky  blue. 

Feet — yellow  ochre  and  neutral  gray,  outlined 
with  black  ;  high  lights — reserved  and  touched  up 
with  enamel  white. 


138 


ROFOUS  SWALLOWS. 

Above  and  below  the  bill —  foundation — carna- 
tion No.  2,  shaded  with  carnation  No.  3  ;  deepened 
with  violet  of  iron. 

Back — a  mixture  of  deep  blue-green  and  neutral 
gray,  shaded  with  neutral  gray  and  victoria  blue, 
adding  dark  green  No.  7  for  darker  shadows. 

The  wings  and  tail — neutral  gray  and  yellow 
ochre,  outlined  with  brown  No.  4,  touches  here 
and  there  with  blue-green. 

Upper  part  of  the  breast — blue  green,  shaded 
with  dark  green  No.  7. 

Breast — foundation — neutral  gray  and  sky  blue  ; 
second  shading — neutral  gray  and  yellow  ochre. 

Bill  and  eyes — outlined  with  black,  and  colored 
with  neutral  gray  and  sky  blue. 

Feet — outlined  with  black  and  colored  with  neu- 
tral gray. 

WHITE-BREASTED  SWALLOW. 

Head  and  back — a  mixture  of  victoria  blue  and 
neutral  gray,  shaded  with  victoria  blue  and  ivory 
black. 

Wings —neutral  gray,  shaded  with  the  same, 
adding  touches  of  yellow  ochre  and  violet  of  iron  ; 
tail  treated  in  the  same  manner. 


139 


The  white  china  is  substituted  for  the  lights  on 
the  breast ;  shadows — neutral  gray  and  sky  blue, 
adding  delicate  touches  of  yellow  ochre  and  brown 
No.  4,  to  soften  the  foundation  shadow  color. 

Feet  —  outlined  with  black  and  colored  with 
neutral  gray. 

Eyes  and  bill — neutral  gray  and  sky  blue,  out- 
lined with  ivory  black. 


Same 


Is  one  of  the  most  difficult  branches  of  china 
painting,  as  so  much  depends  upon  the  careful 
manipulation  of  the  brush  to  give  form  and  natu- 
ralness to  the  subject.  It  is  almost  impossible  to 
describe  minutely  the  characteristic  finishing  that, 
good  drawing  produces  on  feathers  and  fur,  so  as 
to  avoid  all  appearance  of  having  been  over- 
worked. 

Copy  from  nature  when  you  can,  and,  in  con- 
nection with  the  general  treatment  given  in  this 
chapter  on  coloring,  you  will  be  able  to  master 
the  difficulties  in  time. 

When  it  is  possible,  lay  in  the  dark  shadow 
colors  first,  reserving  the  high  lights  ;  apply  them 
with  a  broad,  flat  brush  which  has  first  been 
dipped  into  tinting  oil,  then  add  a  little  turpentine, 
afterwards  taking  up  the  color  on  the  under  side 
of  the  brush,  which  is  now  ready  for  the  painting. 

PARTRIDGE. 

Foundation  color — brown  No.  108,  blended  into 
carnation  No.  r  for  the  head  and  upper  part  of 
the  body. 


141 


Over  the  breast,  wings,  and  tail,  lay  in  a  thin 
wash  of  yellow  ochre,  leaving  the  white  china  for 
the  lights.  While  the  colors  are  moist,  stipple 
them  evenly. 

First  Painting. — Outline  the  bill,  eyes,  wing, 
and  tail  feathers,  also  the  feet  and  legs,  with  ivory 
black.  When  dry,  fill  in  the  wings,  eyes,  and  tail 
with  a  delicate  wash  of  violet  of  iron  and  yellow 
ochre,  shading  with  the  same,  full  strength. 

The  bill,  feet,  and  legs  are  washed  in  with 
neutral  gray,  and  shaded  with  the  same. 

Feather  markings  on  the  body  are  outlined  with 
ivory  black  and  filled  in  with  a  delicate  wash  of 
brown  No.  4  and  violet  of  iron. 

Shade  the  upper  part  of  the  back  with  brown 
No.  4,  strengthened  with  ivory  black.  Eyes — 
ivory  back,  with  a  little  blue  added. 

Shade  the  breast  with  neutral  gray,  adding 
touches  of  yellow  ochre  ;  breast  next  to  the  bill, 
which  is  white,  is  shaded  with  gray  No.  1,  extend- 
ing the  same  color  to  the  lower  part  to  tone  down 
the  white. 

Feather  markings  can  be  indicated  by  the  deli- 
cate manipulation  of  the  brush,  and  taking  out 
the  lights  on  the  feather  tips  with  the  erasing  pin. 
Avoid  stiffness  in  cutting  out  the  lights. 

Foreground.  —  Foundation — yellow  ochre  with 
brown-green  No.  6  ;  foliage  —  yellow  ochre  and 
grass  green,  shaded  with  brown-green  No.  6, 


142 


SNIPE. 

Lay  in  the  shadow  colors  on  the  back,  head,  and 
wings,  with  ivoiy  black  and  brown  No.  4. 

Over  this  a  delicate  wash  of  dark  green  No.  7 
and  yellow  ochre,  beginning  with  the  head,  ex- 
tending the  color  over  the  body,  reserving  the 
lights  and  losing  the  tint  towards  the  lower  part 
of  the  breast,  which  is  light  gray  No.  r.  While 
moist,  stipple  and  model  the  colors  into  roundness. 
Outline  the  bill,  eyes,  wings,  tail,  legs  and  feet 
with  ivory  black. 

Coloring  on  the  bill — orange  yellow  ;  on  the 
legs — deep  chrome  green. 

Second  Painting. — Strengthen  the  shadows  on 
the  head  and  back  with  the  ivory  black  and 
brown  No.  4,  delicately. 

Breast  and  wings  are  shaded  with  dark  green 
No.  7,  worked  in  with  brown  No.  4  ;  outline  the 
lower  part  of  the  body  with  light  gray  No.  1,  and 
soften  the  shadows  on  the  breast  with  touches  of 
yellow  ochre. 

Take  out  the  lights  with  the  erasing  pin  and 
indicate  the  feather  markings  with  the  shadow 
colors. 

Water  in  Shadow. — Foundation — one  part  of 
neutral  gray  to  three  parts  of  sky  blue  ;  shadows — 
dark  green  No.  7  and  yellow  ochre,  glazed  with 
deep  chrome  green  and  sky  blue  ;  cut  out  the 
lights. 

Grasses — a  combination  of  mixing  yellow  and 
grass  green  for  the  light  effects. 


M3 


Dark  Grasses — emerald  green  and  brown-green 
No.  6,  shaded  with  dark  green  No.  7. 

Distant  Grasses — yellow-brown  and  grass  green, 
shaded  with  brown-green. 

Sky. — Upper  part — sky  blue  and  turquoise  blue, 
blended  into  yellow  ochre  and  ivory  yellow.  Take 
out  the  lights  and  use  enamel  white  for  accentu- 
ated effects. 

QUAIL. 

Foundation — yellow-brown,  mixed  with  brown 
No.  3  —  equal  proportions  —  and  laid  on,  full 
strength,  for  the  upper  part  of  the  back,  extend- 
ing over  the  head,  and  graduated  delicately  down 
towards  the  center  of  the  body  with  yellow-brown, 
adding  very  little  brown  No.  4 ;  shading  the 
breast  and  under  part  of  the  body  with  light  gray 
No.  1,  with  delicate  touches  of  yellow-brown  here 
and  there,  saving  the  china  for  the  lights. 

A  touch  of  carnation  No.  1  next  to  the  eye,  and 
blended  into  brown  No.  3  towards  the  neck  ;  while 
the  colors  are  moist  soften  them  with  the  blender. 

Outline  the  bill,  legs,  and  feet,  with  ivory 
black  ;  when  dry,  color  them  with  neutral  gray 
and  brown-green  No.  6.  Outline  the  eye  with 
black  ;  pupils — ivory  black,  with  a  touch  of  blue 
added. 

Feather  markings — ivory  black.  The  wings  and 
center  body-feathers  are  laid  in  with  light  gray 
No.  1,  shaded  with  neutral  gray,  and  with  soft 
touches  of  yellow  ochre. 


144 

The  radiating  lines,  starting  from  the  quills  on 
the  wings  and  body,  are  ivory  black.  These 
feather  markings  must  not  be  too  strong  or 
regular.  When  dry,  cut  out  the  lights.  Band  on 
neck — ivory  black  ;  strengthen  the  shadow  colors 
with  corresponding  tints  ;  use  Aufsetzweis  for  the 
highest  lights. 

Sky — turquoise  blue,  blended  down  into  ivory 
yellow,  yellow  ochre,  and  carnation  No.  i  ;  warm 
gray  for  distant  foliage  and  mountains. 

Foreground — yellow  ochre,  worked  in  with 
violet  of  iron,  grass  green,  and  mixing  yellow, 
shaded  with  neutral  gray. 

CANVAS-BACK  DUCK. 

Brown  No.  3  and  violet  of  iron  for  the  founda- 
tion color,  laid  over  the  body  very  delicately. 
Over  this  tint,  on  the  head,  neck,  and  breast,  a  thin 
wash  of  yellow  ochre  is  applied  ;  a  touch  of  sky 
blue  next  to  the  eye. 

First  Shading  —  Neutral  gray  and  sky  blue, 
worked  into  ivory  black,  for  the  dark  shadows. 

While  moist,  stipple  the  colors  and  model  them 
into  form.  Outline  the  eyes,  bill,  wings,  tail,  legs, 
and  feet  with  ivory  black,  using  neutral  gray  and 
ivory  black  for  coloring. 

When  dry,  cut  out  the  lights  on  the  neck,  bill, 
and  breast ;  lay  over  the  shadow  color  a  thin  wash 
of  dark  green  No.  7,  to  tone  down  the  brown,  also 
to  glaze  it ;  add  touches  here  and  there  with  yel- 
low ochre  and  deep  chrome  green. 


145 


Pupil  of  the  eye — ivory  black  ;  iris — orange 
yellow,  shaded  with  brown-green  No.  6. 

The  Ugliest  feather  marks  are  brown  No.  4  and 
neutral  gray  ;  medium  in  color — brown  No.  4  and 
ivory  black  ;  darkest — ivory  black. 

Add  touches  of  deep  chrome  green  and  neutral 
gray  for  the  lights  on  the  bill  and  legs  ;  Aufsetz- 
weis  enamel  for  high  lights  on  the  body,  eyes,  etc. 

WILD  DUCK. 

Head —  deep  chrome  green  ;  shading  —  dark 
green  No.  7  ;  breast — carnation  No.  1,  shading 
with  deep  red-brown. 

Back — brown  No.  3,  shaded  with  brown  No.  4  ; 
wings  are  outlined  in  black  and  colored  with  dark 
green  No.  7. 

Tip  of  the  wings — brown  No.  3  ;  above  this,  two 
bands  of  white  feathers,  with  a  row  of  dark  blue, 
shaded  with  ivory  black,  between  them. 

Brown  No.  3  connects  the  wings  to  the  body  color, 
and  shaded  with  brown  No.  4  ;  lower  part  of  the 
breast  has  a  thin  wash  of  pearl  gray,  shaded  with 
neutral  gray  and  brown  No.  4. 

Bill  outlined  with  ivory  black  and  colored  with 
orange  yellow,  shaded  with  brown-green. 

Legs  and  feet — outlined  with  black  and  filled 
in  with  carnation  No.  1,  shaded  with  violet  of 
iron  ;  markings  on  the  feathers — ivory  black  and 
and  brown  No.  4  ;  reserve  the  white  band  around 
the  neck. 


146 


Touches  of  deep  chrome  green,  yellow  ochre, 
and  yellow-brown  are  applied  for  glazing  and 
softening  the  tints. 

Foreground  —  a  mixture  of  yellow  ochre  and 
neutral  gray,  shaded  with  neutral  gray  and  dark 
green  No.  7. 

Grasses — grass  green  and  mixing  yellow  ;  shad- 
ing tint — brown  green  and  dark  green  No.  7. 

Distant  Grasses  —  grass  green,  yellow-brown 
and  mixing  yellow,  shaded  with  brown-green. 

Water — a  combination  of  sky  blue  and  neutral 
gray,  shaded  with  apple  green  and  carmine  No.  2, 
with  touches  of  turquoise  blue  and  chrome  green 
used  separately. 

ENGLISH  PHEASANT. 

Head — deep  blue,  shaded  with  ruby  purple  and 
dark  blue  ;  spot  near  the  eye — carnation  No.  1  ; 
bill — outlined  with  brown  No.  4  and  colored  with 
gray  No.  2  ;  eyes — outlined  with  black  and  shaded 
with  neutral  gray. 

Back — sepia,  shaded  down  into  deep  red-brown 
and  carnation  No.  2  for  the  lower  part  of  the 
body. 

Wings  and  tail  feathers — brown  No.  4,  shaded 
with  neutral  gray  ;  dark  markings — brown  No.  4 
and  ruby  purple  ;  cut  out  the  lights  with  the 
erasing-pin  and  lay  over  them  a  delicate  wash  of 
yellow-brown. 

Legs  and  feet — sepia,  shaded  with  brown  No. 
4  ;  cut  out  the  white  on  the  neck,  also  the  white 


147 


feathers  on  the  top  of  the  wings,  substituting  the 
china  for  the  lights. 

WILD  TURKEY. 

Dark  green  No.  7  and  ivory  black  for  the  shad- 
ows on  the  back,  including  the  wings  and  neck, 
diluting  the  color  for  the  breast  and  lower  part  of 
the  body. 

Tip  of  the  wings — yellow  ochre  ;  tip  of  the 
tail — violet  of  iron  and  yellow  ochre,  extending 
the  color  to  the  middle  of  the  back. 

Head — a  foundation  of  carnation  No.  r,  deli- 
cately applied  ;  lower  part,  towards  the  neck — 
victoria  blue,  shaded  with  victoria  blue,  ruby 
purple,  and  carnation  No.  1,  mixed. 

Second  Painting. — Outline  the  bill,  eyes,  wings, 
tail  and  feather  markings  with  ivory  black  ;  also, 
the  black  bands  on  the  tail,  with  the  same  color. 

Legs  and  feet — sepia,  shaded  with  brown  No.  4. 

RABBITS. 

Brown  No.  4  and  ivory  black  on  the  back, 
blended  into  neutral  gray  and  brown  No.  4  on  the 
lower  part  of  the  body  ;  cut  out  the  lights  and 
stipple  smoothly  ;  breast  and  mouth — shaded  with 
light  gray  No.  1. 

Second  Painting. — Outline  the  eyes,  nostril,  and 
feet  with  ivory  black  ;  when  the  foundation  colors 
are  thoroughly  dry,  lay  over  them  a  very  delicate 
wash  of  three  parts  of  brown  No.  108,  with  one 
part  of  brown  No.  4,  mixed. 


148 


Define  the  fur  marking's — use  a  fine  brush,  with 
brown  No.  4,  and  strengthen  the  shadows  with  the 
foundation  colors. 

When  the  colors  incline  to  a  gray,  use  brown 
No.  108  and  neutral  gray  for  the  foundation,  with 
touches  of  violet  of  iron  on  the  dark  shadows,  and 
yellow  ochre  for  the  lighter  effects. 

Eyes — deep  red  brown  ;  cut  out  the  touches  of 
white  on  the  nostril  and  ears,  shade  with  neutral 
gray,  very  delicately. 

Foreground  —  brown-green  and  yellow  ochre, 
worked  into  neutral  gray  and  violet  of  iron. 

Grasses — grass  green,  worked  with  mixing  yel- 
low, shading  with  brown-green  No.  6,  dark  green 
No.  7,  and  yellow  ochre. 

Distant  foliage — warm  gray;  sky — turquoise 
blue,  blended  down  into  ivory  yellow  and  yellow 
ochre,  very  delicately. 

SQUIRREL. 

Foundation  —brown  No.  4  and  ivory  black, 
shaded  with  the  same,  full  strength,  adding  a 
touch  of  deep  red-brown  with  it,  to  obtain  the 
reddish  cast  to  the  fur.  Cut  out  the  lights  and 
stipple  the  colors  smoothly. 

The  neck  and  lower  part  of  the  body  shaded  in 
with  light  gray  No.  1  and  a  little  yellow  ochre 
added. 

Second  Painting. — Outline  the  eyes,  nostril,  and 
feet  with   ivory   black.    When   the  foundation 


149 


colors  are  dry,  lay  over  them  a  delicate  wash  of 
brown  No.  3  and  yellow  ochre,  over  the  entire 
body,  adding  touches  of  violet  of  iron  for  the 
darkest  shadows. 

Eyes — shaded  with  neutral  gray  and  yellow 
ochre. 

GRAY  SQUIRREL. 

Foundation  —  brown  No.  4  and  ivory  black, 
shading  the  upper  part  of  the  back  with  the  same, 
full  strength. 

Second  Painting. — Outline  the  nostril,  eyes,  and 
feet  with  ivory  black.  When  the  foundation  colors 
are  dry,  a  delicate  wash  of  three  parts  of  neutral 
gray  with  one  part  of  yellow  ochre,  over  the  entire 
body  excepting  the  breast  and  lights,  which  are 
cut  out  with  the  erasing-pin  or  scraper  ;  strengthen 
the  shading  with  brown  No.  4  ;  add  touches  of 
white  on  the  breast  and  eyes  with  Aufsetzweis. 

Tree  Trunk. — Foundation — neutral  gray,  mixed 
with  a  little  yellow  ochre,  shading  with  brown 
No.  4  and  dark  green  No.  7. 

Colors  for  Foliage. — Grass  green,  mixing  yellow, 
yellow-brown,  brown-green  No.  6,  and  dark  green 
No.  7. 

DEER. 

Foundation — to  one  part  of  ivory  black  add 
three  parts  of  brown  No.  4,  beginning  with  full 
strength  on  the  back  and  extending  it  delicately 
over  the  entire  body,  saving  the  lights ;  stipple 
and  model  smoothly. 


£5o 


When  perfectly  dry — lay  over  the  shadow  color 
a  delicate  wash  of  brown  No.  3  and  yellow-brown, 
diluting  the  tints  for  the  lights,  which  must  be 
laid  smoothly  without  the  aid  of  the  blender, 

Leaving  the  lights  next  to  the  nostrils,  on  the 
ears,  neck,  and  lower  part  of  the  breast.  Outline 
and  shade  the  breast  with  light  gray  No.  1. 

The  horns,  nostrils,  and  hoofs,  with  ivory  black  ; 
the  horns  are  colored  with  sky  blue  and  neutral 
gray,  worked  in  with  yellow  ochre. 

Hoofs — ivory  black. 

Ready  for  the  first  firing. 

Second  Painting. — Strengthen  the  shading  by 
using  the  same  colors  ;  glaze  the  rest  of  the  body 
with  yellow-brown,  with  a  few  touches  of  brown 
No.  4  ;  eyes  outlined  with  ivory  black,  and  shaded 
with  neutral  gray  and  sky  blue. 


©ceopation  for  ^)gg  <f§)ishes. 


YELLOW  CHICKENS. 

Foundation — ivory  yellow,  extending  over  the 
body  and  shaded  into  orange  yellow. 

On  the  top  of  the  head  and  back,  under  the 
neck,  and  on  the  breast — a  mixture  of  yellow- 
brown  and  brown-green  No.  6,  with  a  touch  of 
ruby  purple  added,  to  form  a  gray  shading. 

Second  Painting.  —  Outline  the  legs  and  feet 
with  brown  No.  4,  and  colored  with  neutral  gray 
and  yellow  ochre.  Cut  out  the  markings  on  the 
legs  and  color  them  with  ivory  yellow. 

The  eyes  are  traced  with  ivory  black,  and  shaded 
with  the  same. 

Strengthen  the  head  and  back  with  orange  yel- 
low ;  use  the  gray  shadow  color  given  above  to 
deepen  the  shading  on  the  breast,  etc.  ;  the  bill  is 
colored  with  orange  yellow. 

Cut  out  the  lights,  and  mix  ivory  yellow  with 
the  Aufsetzweis,  to  raise  the  enamel  effects  on  the 
feathers. 


152 

BLACK  CHICKENS. 

Foundation  —  ivory  black  and  victoria  blue, 
vShaded  with  ivory  black  ;  bill  is  treated  the  same. 
The  china  is  substituted  for  the  lights. 

Feet  and  legs — brown  No.  4,  shaded  with  ivory 
black,  and  brown  No.  4  added. 

Second  Painting. — Cut  out  the  lights  and  add 
touches  of  brown  No.  4  to  the  shadows. 

Neck  and  breast — shaded  with  light  gray  No.  1, 
and  strengthened  with  brown  No.  4  ;  indicate  the 
feather  markings  with  ivory  black. 

HEN. 

Foundation — yellow  ochre,  worked  in  with  violet 
of  iron  and  neutral  gray,  for  the  body. 

Wings  and  tail  are  shaded  with  yellow  ochre 
and  brown  No.  4. 

Neck — mixing  yellow,  shaded  into  orange  yel- 
low, yellow-brown  and  ruby  purple. 

Comb — carnation  No.  2,  shaded  with  capucine 
red,  and  touched  with  deep  red-brown. 

Bill — Yellow  ochre  and  neutral  gray,  outlined 
with  ivory  black  ;  eyes — traced  with  black  and 
colored  with  sepia. 

Feet — outlined  with  brown  No.  4,  and  colored 
with  neutral  gray  and  yellow  ochre  ;  also  touches 
on  the  wings  are  laid  in  with  the  same  color. 

Second  Painting. — Cut  out  the  lights  on  the 
body,  wings,  and  tail  ;  add  touches  of  turquoise 


153 


blue,  very  delicately,  on  the  white  feathers,  to 
tone  them  down. 

Touches  of  yellow-brown  here  and  there  on  the 
body  ;  darkest  shading  on  the  wings  and  tail — 
ivory  black  ;  and  yellow  ochre  is  added  for  the 
light  effects  on  the  neck.  Aufsetzweis  is  added 
for  strengthening  the  lights. 

EGGS. 

Foundation — pearl  gray,  shaded  with  gray  No.  2, 
removing  the  color  for  the  lights. 

Straw  nest — ivory  yellow  ;  first  shading — orange 
yellow;  second  shading  —  brown -green,  yellow- 
brown  and  ruby  purple  mixed. 


PALETTE  OF 

©pesdcn  anb  (&a  @poix  (^clcps  for 
f© i y u pc  pointing, 

TO  BE  APPLIED  AFTER  THE  DRESDEN  METHOD. 

Sky  Blue  Ivory  Yellow  Blue-Green 

Air  Blue  Albert  Yellow  Shading  Green 

Turquoise  Blue  Yellow-Brown  Egg  Yellow 

DarK  Blue  Sepia  Yellow-Red 

Rose  Purple  Finishing  Brown  Gray  for  Flowers 

Dark  Furple  Brunswick  Black  Relief  White 

Light  Carmine  No.  i  Yellow-Green  Relief  Yellow 
Carmine  No.  2 

PRELIMINARY  TO  PAINTING. 

Prepare  the  palette  with  all  necessary  colors.  For 
the  mediums,  take  two  small,  shallow  cups  :  in  one 
place  fresh  turpentine,  in  the  other  one  part  of  oil 
of  cloves,  to  the  same  quantity  of  fat  oil,  thoroughly 
mix,  and  incorporating  them  as  one,  dilute  your 
colors  sparingly  with  this  medium,  and  you  are 
ready  for  painting. 

If  you  should  use  fat  oil  alone,  particularly 
where  colors  over-lay  each  other,  as  in  figure 
painting,  fish,  game,  etc.,  they  would  blister  in 


i55 


firing,  while  oil  of  cloves  "  cuts"  the  fat  oil 
keeps  it  open  for  stippling,  and  the  turpentine 
modifies  both  into  safe  working  condition. 

Examine  your  brushes,  which  must  be  perfectly 
clean  j  have  a  sufficient  number  of  them  to  insure 
a  high  key  of  pure  colors,  so  characteristic  of  the 
Dresden  method. 

Enamel  effects  is  another  very  noticeable  feat- 
ure in  this  method,  which  is  always  the  final, 
finishing  touch.  You  are  cautioned  against  over- 
loading your  brush — an  error  that  beginners, 
particularly  those  who  are  accustomed  to  oil  colors, 
fall  into  in  their  desire  to  obtain  a  body  of  color. 
If  this  is  required,  get  it  by  degrees,  giving  each 
tint  ample  time  to  dry,  before  continuing  with  the 
work. 

TREATMENT  OF  FLESH,  HAIR,  DRAPERY,  ETC., 

This  branch  of  china-painting  requires  extreme 
care  and  study  ;  avoid  corrections  as  much  as 
possible  ;  do  not  omit  details,  for,  under  the  most 
favorable  circumstances,  the  painting  can  never 
be  rapid.  Your  drawing  or  tracing  should  be 
perfect — this  is  insisted  upon  ;  no  matter  how  care- 
fully you  may  have  succeeded  with  your  color,  a 
defect  of  this  kind  will  render  the  painting 
valueless. 

FLESH-TINTS. 

Fair  Complexion. — Two-thirds  Albert  yellow  with 
one-third  pompadour  red,  laid  on  in  thin  washes. 


i56 


Florid. — Increase  the  proportion  of  pompadour. 
Dark. — Add  a  little  black  and  sepia  brown  to 
the  above. 

SHADOWS  FOR  FLESH. 

Warm  Shadows. — Albert  yellow  and  pompadour 
red,  with  a  little  black  ;  this  tint  is  applied  under 
the  chin,  nose,  and  eyes. 

Cool  Shadows. — Brunswick  black,  blue-green, 
with  a  touch  of  pompadour  red  ;  useful  for  half- 
shadows. 

Grays.  —  Blue-green,  mixed  with  Brunswick 
black,  making  a  soft,  transparent  gray,  for  delicate 
complexions. 

The  degrees  of  these  tints  are  readily  secured  by 
mixing  more  or  less  of  the  colors  and  dilution  with 
the  mediums.  Do  not  apply  them  too  moist,  as 
they  are  to  be  laid  over  the  under-color. 

Cheeks. — Clear  pompadour,  very  softly  applied  ; 
the  same  with  more  strength  for  the  lips,  adding 
a  little  light  carmine  for  the  second  firing. 

Nostrils ,  and  Lobe  of  the  Ears. — Pompadour  red 
and  sepia  brown  mixed,  adding  a  little  finishing- 
brown  to  the  above  for  deep  shadows. 

HAIR. 

Black. — A  thin  wash  of  Brunswick  black,  mixed 
with  a  little  carmine  and  finishing  brown  ;  for  the 
lights,  use  turquoise  blue. 

Gray  and  White. — Brunswick  black  and  a  little 
yellow-brown  mixed,  and  turquoise  blue  for  lights. 


157 


Auburn.  —  Yellow-brown,  canary  yellow,  very 
little  carmine  added  for  lights  ;  sepia  brown,  with 
little  carmine,  for  shadows. 

Light  Brown. — Sepia  brown,  mixed  with  yellow- 
brown,  for  lights. 

Blonde. — Canary  yellow,  yellow  ochre,  with  a 
touch  of  black  for  shading. 

EYES. 

Hazel. — Sepia  brown  ;  add  light  carmine  and 
finishing  brown  with  it ;  for  the  pupils — very  little 
Brunswick  black  to  the  above. 

Dark  Brown. — Same  as  above,  only  stronger  in 
color. 

Blue. — Turquoise  blue,  Brunswick  black,  and  a 
little  blue-green  mixed,  using  finishing  brown  for 
the  pupils. 

Gray. — Sepia  brown  and  blue  ;  same  as  above 
for  pupils. 

Black. — Finishing  brown  and  black,  leaving  the 
white  of  the  china  for  the  lights. 

DRAPERY. 

Yellow. — Ivory  yellow  for  lights ;  canary  and 
black  for  half-tints,  mix  with  these  yellow-brown 
and  black  for  shadows. 

Blue.—  Turquoise  blue  for  lights  ;  dark  blue,  tur- 
quoise blue,  and  carmine  for  shadows. 

Violet. — Turquoise  blue  and  light  carmine  for 
lights ;  dark  purple  and  turquoise  blue  for  shadows  , 


158 


for  reflected  lights  on  the  shadows — sepia  brown 
and  yellow-brown  mixed. 

Red. — Carnation  No.  i  ;  add  light  carmine  and 
sepia  brown  in  the  shadows  ;  for  the  second  firing, 
a  thin  wash  of  light  carmine  over  the  lights. 

Orange.—  Yellow-brown  and  egg  yellow  mixed, 
for  lights  ;  add  black  and  yellow-brown  and  sepia 
for  shadows. 

Green. — Yellow-green  ;  use  canary  yellow  and 
black  for  half-shadows  ;  shading  green  and  sepia 
brown  added  to  the  other  colors  for  dark  shadows. 

White. — Shadows  for  white — black,  ivory  yellow, 
turquoise  blue,  and  carmine,  mixed. 

Black. — Brunswick  black  ;  mix  turquoise  blue 
with  it  for  the  lights,  and  finishing  brown  and 
carmine  added  to  them  for  shadows. 

To  paint  gold  jewelry. — A  wash  of  canary  yel- 
low, with  black  for  half-shadows  ;  with  yellow- 
brown  and  sepia  brown  for  deep  shadows. 

NEUTRAL  BACKGROUND. 

Canary  yellow,  a  little  carmine  and  air  blue 
mixed.  All  Dresden  colors  require  a  very  strong 
fire,  particularly  for  the  first  painting. 

METHOD   AND  MANIPULATION. 

As  the  treatment  has  already  been  given  for 
flesh,  shadows,  etc.,  they  will  not  be  repeated 


159 


again  in  detail.  Begin  with  having  the  drawing 
correct  and  all  alterations  final  before  using  the 
color.  Apply  the  flesh-tint  in  broad,  flat,  delicate 
washes,  using  a  square  shader,  adding  a  touch  of 
carnation  to  the  cheeks,  pompadour  to  the  lobe  of 
the  cars.  Cool  shadows— under  the  eyes,  nose, 
and  chin,  followed  by  the  warm  tints. 

Remove  the  color  from  the  eyes  and  mouth, 
and,  while  moist,  blend  them  all  into  delicacy, 
using  two  or  three  small  stipplers — changing 
them,  as  they  absorb  the  color.  Dry  the  work 
thoroughly  over  an  alcohol  lamp. 

Now  put  in  the  eyes  and  lips.  Carefully  re- 
move the  high-light  on  the  nose  and  forehead — 
this  could  be  more  safely  accomplished  (to  guard 
against  hard  lines)  while  the  tint  is  moist — and 
stippling  the  edges  and  blending  the  tint,  so  that 
the  china  will  form  the  lights,  without  having  the 
glaze  appear  on  the  surface. 

Apply  the  local  wash  for  the  hair  and  drapery  ; 
avoid  getting  it  too  heavy — or  dark — in  the  first 
painting. 

Another  characteristic  of  the  Dresden  method 
is  hatching  and  stippling.  It  is  done  to  model 
and  accentuate  forms,  especially  in  faces,  hands, 
etc.,  but  this  is  accomplished  after  the  work  has 
been  carried  as  far  as  possible  with  broad,  flat 
washes.  Hatching  is  a  succession  of  fine  lines 
crossing  each  other,  leaving  small  openings  to  be 
filled  in  delicately  by  stippling.    It  renders  trans- 


i6o 

parency  and  roundness  to  the  painting,  and  the 
lines  should  follow  the  contour  of  the  face  as  much 
as  possible. 

To  stipple  well  is  of  the  utmost  importance,  as 
all  of  the  delicate  blending  of  the  flesh-tints, 
shadows,  grays,  etc.,  are  harmonized  as  one  by  this 
process  ;  without  it,  the  picture  is  unfinished  and 
irregular. 

The  work,  after  drying  over  an  alcohol  lamp, 
should  be  carefully  examined,  and  all  roughness 
removed  with  an  erasing  pin  or  needle  ;  this 
completed,  give  it  a  very  strong  fire.  Afterwards, 
with  a  piece  of  pumice  stone,  first  dipped  in  water 
(otherwise  it  would  scratch  the  surface),  remove 
any  unevenness  that  may  appear. 

The  colors  are  now  repeated,  but  stippled  in. 
Heighten  the  tint  of  the  cheeks,  define  the 
separation  of  the  lips  with  pompadour  red,  paint 
in  the  eyelashes,  eyebrows,  and  eyes  ;  deepen  the 
shadows,  touch  up  the  lips  with  light  carmine  ; 
put  in  the  half-shadows,  deep  tones  for  the  hair — 
avoid  making  it  wirey. 

Add  the  colors  which  are  necessary  to  finish  the 
drapery  or  accessories  of  the  picture,  and  dry 
thoroughly  again.  Remove  the  dust,  and  give  a 
strong  fire  the  second  time.  The  third  process  to 
be  repeated,  adding  strength  where  required,  and 
white  enamel  for  extreme  high-lights  on  drapery  : 
and,  if  the  carnations  in  the  cheeks  has  lessened 
by  firing,  stipple  over  them  to  the  desired  depth 
required. 


The  following-  treatment  for  Butterflies  can  be 
adopted  with  excellent  effects  in  combination  with 
flower-painting,  or  if  used  alone,  they  can  be 
artistically  grouped  or  arranged  in  flights,  gradu- 
ating their  sizes  as  they  approach  the  distance,  on 
a  clouded  sky  ground  tint. 

No.  i. — For  the  lightest  foundation — jonquil  yel- 
low, shading  with  the  same,  add  brown-green  and 
a  little  orange-yellow. 

Tip  of  the  wings — yellow  ochre,  shaded  with 
brown  No.  4 ;  body— neutral  gray  and  yellow 
ochre,  adding  touches  of  dark  green  No.  7. 

Second  Painting. — Strengthen  the  shading  with 
brown-green,  adding  very  little  ruby  purple  to  it ; 
markings  and  veining — neutral  gray  and  violet  of 
iron  ;  touches  on  the  body — dark  green  No.  7. 

No.  2. — Outline  with  yellow  ochre  and  brown- 
green  No.  6.  When  dry  apply  a  foundation  of 
jonquil  yellow  to  the  upper  wings,  and  shade  with 
orange-yellow. 

Lower  Wings — orange-yellow  and  brown-green 
No.  6.  Body  laid  in  with  brown  No.  4  ;  feelers — 
ivory  black  ;  markings — brown  No.  4,  and  violet 
of  iron. 

No.  3. — Foundation  for  the  body — brown  No.  4, 
shaded  with  the  same,  adding  a  touch  of  ivory 
black  for  dark  effects.  When  dry,  cut  out  the 
lights  and  glaze  them  over  with  yellow  ochre. 

The  wings  are  outlined  with  brown  No.  4 ;  the 
tips  are  delicately  laid  in  with  ivory  black,  using 


162 


capucine  red  for  the  band  across  the  upper  wings — 
applying-  the  same  to  the  edges  of  the  lower 
wings,  and  touched  with  deep  red-brown. 

The  ribs  or  outlines  on  the  wings  are  indicated 
with  four  parts  of  victoria  blue  to  one  part  of 
ivory  black,  well  mixed  and  delicately  applied. 

Feelers — ivory  black. 

No.  4. — Foundation  —  turquoise  blue,  strength- 
ened on  the  shadow  side  with  brown-green  No.  6 
worked  into  the  blue. 

On  the  light  side  the  blue  is  delicately  applied. 

Body  neutral  gray,  shaded  with  ruby  purple 
and  neutral  gray.  When  perfectly  dry  cut  out 
the  veinmgs  and  lights,  and  lay  them  in  with  ruby 
purple  and  neutral  gray,  the  same  to  be  used  for 
shading  ;  feelers — neutral  gray. 

No.  5. — Foundation — blue-green,  adding  dark 
green  No.  7  for  shading — body  the  same.  For 
light  effects — emerald  stone  green,  shaded  with 
dark  green  No.  7.  The  white  china  substituted 
for  the  lights.  When  perfectly  dry  the  markings 
are  laid  in  with  dark-green  No.  7,  and  brown 
No.  4— the  same  for  the  feelers. 

No.  6. — Foundation  for  the  upper  wings — tur- 
quoise blue.  For  the  lower  wings — add  a  little 
neutral  gray,  shading  with  the  same.  When  dry 
cut  out  the  veinmgs  and  lay  them  in  with  neutral 
gray,  adding  a  touch  of  brown  No.  4 — the  same 
for  the  body  and  feelers. 

No.  7. — Foundation — sepia,  worked  into  carna- 
tion No.  1  for  the  red  markings.     Use  ivory  black 


i63 


for  the  outlining.  .  The  markings  on  the  wings 
and  body — violet  of  iron,  shaded  with  brown 
No.  4. 

No.  8. — Foundation — ivory  yellow  worked  into 
yellow  ochre  for  the  light  side. 

Shadow  Side — yellow  ochre  and  brown  No.  4, 
•worked  in  for  the  shading.  Markings  and  vein- 
ings — brown  No.  4  delicately  applied,  adding  a 
touch  of  ivory  black  for  shading  the  dark  side. 

Violet  of  iron  worked  into  the  yellow  ochre  for 
shadows,  next  to  the  body.  Touches  of  yellow 
ochre  on  the  tip  of  the  wings. 

Dragon  Fly. — Body,  blue-green  shaded  with 
blue-green  and  ruby  purple.  Wings  deep  chrome- 
green,  laid  in  delicately;  next  to  the  body — on  the 
tips — apply  mixing  yellow. 

Veinings — dark  green  No.  7,  adding  a  touch  of 
ruby  purple. 

Eyes — ruby  purple  and  blue-green.  Feelers  the 
same. 

For  decorative  effects,  add  jewels  to  the  tip  of 
the  wings,  using  graduated  sizes,  and  vary  the 
colors  ;  surround  them  with  either  dots  of  white 
enamel,  relief  paste,  or  circles  of  gold.  Your  own 
taste  will  suggest  the  treatment  suitable  to  the 
work  in  hand,  and,  unless  you  are  experienced  as 
to  the  exact  degree  of  heat  required  for  jewel 
work,  you  are  advised  to  cement  them  in  place 
after  the  last  firing,  obtaining  the  desired  result 
without  the  attending  anxiety  which  is  sure  to 
follow  the  process  of  firing  them  on. 


[64 


BONBONNIERE,   WITH  DRESDEN  AND  La  CROIX  COLORS. 


fpeatmcnt  of  ©cnbonniepe. 

Make  a  careful  tracing  of  the  figures,  features, 
eyes,  etc.,  with  pompadour  red.  When  dry,  begin 
at  the  top  and  lay  in  the  sky  with  a  delicate  wash 
of  sky  blue,  graduated  down  into  ivory  yellow  and 
light  carmine.  (Avoid  ridges  of  color.)  For 
distant  foliage,  take  blue-green,  mix  with  it  a 
little  ivory  yellow  and  light  carmine. 

The  foreground  and  trees  are  a  mixture  of 
canary  3^ellow,  yellow-green  and  carmine  for  the 
first  wash,  blending  a  little  blue-green  with  it 
when  touching  up  the  foliage  ;  in  the  foreground 
and  near  the  figures,  use  a  little  yellow-brown. 
Model  the  bank  and  put  in  a  suggestion  of  flowers. 

Female  figure. — Flesh — delicate  wash  of  pompa- 
dour red,  mixed  with  Albert  yellow,  blend  very 
little  blue-green  and  black  with  it  for  shadows  ; 
hair — yellow  brown,  with  a  touch  of  blue-green  ; 
canary  yellow  for  the  lights  ;  bodice — canary  yel- 
low, mix  yellow-brown  and  a  touch  of  black  with 
it  for  shadows  ;  skirt — turquoise  blue,  adding  light 
carmine  and  a  little  black  for  shading  ;  pompadour 
red  for  shoes. 


i66 


Male  figure. — Same  colors  for  flesh  ;  hair  treated 
with  yellow-brown,  adding  blue-green  with  it  for 
shadows;  body  andtrowsers — light  carmine  and  a 
touch  of  turquoise  blue,  adding  very  little  canary 
yellow  for  shading  ;  mantle — pompadour  red, 
with  touches  of  light  carmine — same  for  cap  ; 
a  little  black  and  canary  yellow  for  hose  and  shoes. 

Instrument. — Yellow-brown  ;  pegs,  strings,  and 
shadows — Brunswick  black.'  When  perfectly  dry, 
strengthen  the  eyes  and  hair  of  both,  with  a  little 
sepia ;  nose  and  mouth,  with  pompadour  red. 

Flower  design. — Rose — light  carmine,  touched 
in  the  center  with  ivory  yellow  ;  for  the  asters — 
turquoise  blue  and  dark  purple  ;  centers — canary 
yellow  ;  for  the  little  flowers  on  the  right — pom- 
padour red,  and  canary  yellow  for  centers.  Above 
the  rose,  the  flowers  are  treated  with  canary 
yellow,  which  also  apply  to  the  small  flowers 
below  the  asters.  For  leaves  and  enamel,  see 
treatment  given  for  rose  plate  ;  make  it  a  rule  to 
have  the  leaves  near  the  yellow  and  red  flowers, 
always  blue-green. 

Second  Fire. — Use  the  same  colors  for  the  rose, 
to  strengthen  it  ;  for  the  centers — a  little  dark 
purple  ;  for  the  center  of  the  asters — yellow-brown, 
and  shade  the  little  flowers  with  yellow-brown, 
adding  very  little  black  with  it.  Ivory  yellow  and 
carmine,  to  warm  up  the  sky.  Yellow-green,  blue- 
green,  and  canary  yellow,  to  freshen  up  the  land- 
scape. Yellow-brown  and  light  carmine  with  it 
to  soften  the  foreground. 


i67 

If  either  of  the  figures  or  drapery  require 
strengthening",  glaze  them  over  with  correspond- 
ing- tints.  When  perfectly  dry,  take  a  small  brush 
and  put  in  the  little  finishing  touches,  using  car- 
mine and  a  little  canary  yellow,  and  blue-green, 
for  distant  effects  ;  yellow-brown  and  yellow-green 
for  trees  and  foreground  ;  darkest  shadows  are 
glazed  on  with  sepia  and  yellow-brown. 

The  panels  are  celadon  delicately  applied  ;  the 
dots,  scrolls,  and  bands  are  matt  gold  ;  touches 
of  enamel  are  reserved  for  the  second  firing,  on 
foliage,  etc. 


i68 


Rose  Plate  with  Dresden  and  La  Croix  Colors. 


treatment  for  Pose  Plate. 


Make  a  careful  drawing  of  the  design.  Lay  in 
the  roses  with  light  carmine.  Observe  the  effect 
of  light  and  shade,  and  follow  them  with  color, 
diluted  more  or  less 

Leaves.— Canary  }^ellow,  mixed  with  yellow- 
green,  adding  ivory  yellow  with  it  for  the  back  of 
the  leaves. 

Light  Leaves. — Blue-green  and  carmine.  The 
stems  are  laid  in  with  yellow-green,  shaded  with 
carmine  and  yellow-brown.  Plate  is  now  ready 
for  the  first  firing. 

Strengthen  the  Roses  with  carmine  No.  2  ; 
touches  of  dark  purple  for  the  centers  ;  for  some 
of  the  outside  petals  of  the  roses,  a  little  gray  may 
be  used.  Darken  the  shadows  of  the  leaves  with 
a  little  yellow-green  and  Brunswick  black  :  define 
the  veins  and  serrated  edges  of  the  leaves  with 
ivory  yellow,  and  shading  green  mixed ;  shade 
the  light  leaves  with  carmine,  adding  very  little 
blue-green.    Do  not  get  them  too  dark. 

When  the  work  is  perfectly  dry,  put  in  the  high 
lights  on  the  roses,  with  enamel  white,  mixing 
with  it  enamel  yellow  for  the  leaves.  Give  a  very 
strong  fire,  to  fuse  the  colors  evenly. 


(§ilass  Staining. 


Materials  Necessary.  —  Drawing  and  tracing 
paper  ;  palette  knives  ;  glass  muller  and  slab  ; 
diamond  (the  same  as  used  by  glaziers)  ;  goose 
quills,  for  etching  ;  lavender  oil  and  turpentine  ; 
tracers,  different  sizes  ;  shaders,  round  and  square  ; 
large  deer-foot  stippler  or  blender  ;  small  fitch- 
hair  stipplers,  and  colors. 

In  the  production  of  pictures  on  glass,  frag- 
ments of  colored  glass  are  used,  which  are  cut  in 
pieces  of  the  proper  shape  and  united  by  lead. 

In  this  way  are  formed  the  ground  tints,  skies, 
draperies,  ornaments,  etc. 

The  shades  of  the  head,  hands,  etc.,  are  then 
painted  in  vitrifiable  colors,  which,  after  being 
laid  on,  are  burnt  and  fired  into  the  glass. 

The  precaution  should  be  observed  in  joining- 
the  pieces  of  colored  glass,  that  the  lead  joints  do 
not  interfere  with  the  effect  of  the  picture. 

That  which  characterizes  painting  on  glass,  and 
distinguishes  it  from  painting  on  porcelain  is,  that 
both  surfaces  of  the  glass  are  used. 


The  surface  placed  towards  the  interior  receives 
all  the  shades,  which  are  thus  rendered  more  life- 
like and  better  defined.  All  the  lights  of  the  pic- 
ture are  thrown  on  the  other  side  of  the  glass. 

By  this  means  colors  may  be  used  which  would 
be  injured  by  contact  with  each  other  producing 
peculiar  tints  not  desirable. 

The  colors  used  in  painting  on  glass  are  princi- 
pally metallic  oxides  and  chlorides,  and,  as  in 
most  of  these,  the  color  is  not  brought  out  until 
after  the  painting  is  submitted  to  heat,  it  is  neces- 
sary to  ascertain  beforehand  if  the  colors  are 
properly  mixed  by  painting  on  slips  of  glass  and 
exposing  them  to  heat  in  the  kiln  as  you  will  be 
guided  by  these  trial  pieces  in  laying  on  your 
colors. 

As  the  effect  of  a  picture  on  glass  is  produced 
by  transmitted  and  not  by  reflected  light,  it  is 
necessary  that  the  colors,  after  being  burnt  on, 
should  be  more  or  less  transparent. 

As  the  colored  glass  which  forms  the  ground  is 
manufactured  in  glass-works,  and  is  an  article  of 
commerce,  it  is  necessary  to  consider  here  only 
the  colors  which  are  fired  on. 

The  temperature  at  which  they  are  fired  is 
never  raised  above  the  melting  point  of  silver. 

In  oil  and  water-color  painting,  the  colors  are 
rubbed  up  with  oils,  solution  of  gum-water,  etc. 
In  painting  on  glass,  it  is  necessary  to  have  a 
proper  vehicle  for  the  colors,  which  will  become 
liquid  at  a  red  heat,  and  which  performs  the  same 


J-2 


functions  as  oils,  etc.,  in  ordinary  painting-.  This 
vehicle  is  called  a  flux  ;  it  envelops  the  color  which 
is  mixed  with  it,  and  glues  it,  as  it  were,  to  the 
glass. 

The  colors  are  known  under  the  name  of  veri- 
fiable colors,  which  are  mixtures  of  colors  and 
flux,  and  are  manufactured  especially  for  glass 
painting. 

The  colors  are  prepared  on  a  ground-glass  slab, 
with  very  little  turpentine  and  lavender  oil.  and 
applied  with  a  flat  brush. 

Before  using  them,  however,  it  is  necessary  to 
try  them  on  small  pieces  of  glass,  and  fired,  to 
ascertain  if  the  desired  tone  of  color  is  produced — 
to  be  used  as  guides  or  proof  pieces,  for  reference. 

The  proper  glass  for  receiving  the  colors  should 
be  uniform,  colorless,  and  difficult  of  fusion. 

A  design  must  be  drawn  upon  paper  and  placed 
beneath  the  plate  of  glass.  It  would  be  impossible 
to  regulate  the  tints  directly  by  the  palette,  but  by 
specimens  of  the  colors  produced  after  firing. 

The  upper  side  of  the  glass  being  sponged  over 
with  gum-water  affords,  when  dry,  a  surface  for 
receiving  the  colors  without  a  risk  of  their  running 
irregularly,  as  they  would  be  apt  to  do  on  the 
slippery  glass. 

First  draw  on  the  plate  with  a  fine  pencil  all 
the  traces  which  mark  the  outlines  and  shades  of 
the  figures.  This  is  usually  done  in  black,  or  at 
least,  some  strong  color,  such  as  brown,  green,  or 
red 


173 


In  laying  on  these,  you  are  guided  by  the  same 
principles  as  the  engraver  when  he  produces  the 
effects  of  light  and  shade  by  dots,  lines,  or 
hatches  ;  and  use  only  such  colors  to  produce  the 
shades  which  will  harmonize  best  with  the  colors 
to  be  applied  afterwards  ;  but,  for  the  deeper 
shades,  black  is  in  general  use. 

When  this  is  finished,  the  whole  picture  will  be 
represented  in  lines  or  hatches  similar  to  an  en- 
graving finished  up  to  the  highest  effect  possible. 

Afterwards,  when  dry,  the  vitrifying  colors  are 
laid  on  by  means  of  large  brushes,  this  selection 
being  regulated  by  the  burnt  specimen  tints. 

When  you  find  it  necessary  to  lay  two  colors 
adjoining,  which  are  apt  to  run  together  in  the 
kiln,  one  of  them  should  be  applied  on  the  back 
of  the  glass. 

The  yellow,  formed  with  chloride  of  silver,  is 
generally  laid  on  the  back. 

After  the  painting  is  completed,  proceed  to 
bring  out  the  lighter  effects,  by  taking  off  the 
color  in  the  proper  place,  with  a  goose-quill,  cut 
like 'a  pen  without  a  slit. 

By  working  this  upon  the  glass,  the  colors  are 
removed  from  the  parts  where  the  lights  should 
be  strongest,  such  as  the  hair,  eyes,  the  reflections 
of  bright  surfaces,  and  light  parts  of  draperies. 

The  blank  pen  may  be  employed  either  to  make 
the  lights  by  lines  or  hatches,  and  dots,  as  is  most 
Fuitable  to  the  subject. 


174 


Pulverized  lime  (that  which  has  been  subjected 
to  a  thorough  drying),  can  be  laid  on  the  bottom 
of  the  kiln,  or  upon  plates  or  tiles,  and  the  glass 
rested  on  the  lime  ;  several  layers  of  glass  may 
be  placed  in  the  kiln  together,  with  layers  of  lime 
between  them.    This  is  the  better  arrangement. 

As  the  paintings  retain  considerable  oil,  it  is 
necessary,  when  the  kiln  is  first  charged,  to  heat 
gently,  in  order  to  volatilize  or  decompose  this  oil, 
leaving  the  opening  of  the  kiln  uncovered. 

When  the  oil  is  driven  off,  the  kiln  is  closed 
and  the  fire  increased.  A  greater  or  less  intensity 
of  heat  can  be  regulated  by  turning  down  the  flow 
of  gas. 

The  temperature  suitable  for  burning  is  judged 
of  by  placing  in  the  kiln  pieces  of  painted  glass, 
fastened  to  wires,  which  can  be  drawn  out  through 
the  opening  ;  in  this  way  the  progress  of  the  burn- 
ing may  be  closely  watched. 

If  you  are  in  doubt  as  to  the  length  of  time  for 
firing,  it  is  better  to  turn  off  the  gas,  at  the  risk  of 
having  the  painting  short-fired,  instead  of  allow- 
ing the  glass  to  reach  the  melting  point. 

"  Rose  color  "  heat  would  reduce  the  glass  to  a 
shapeless  mass,  and  in  case  this  occurs  directly 
upon  the  firing-pot,  any  endeavour  to  remove  it 
would  result  in  damaging  the  kiln. 

If  any  parts  are  defective,  they  may  be  retouched 
and  put  in  the  kiln  again  and  extend  the  time  of 
firing,  repeating  these  experiments  until  the 
proper  degree  of  heat  has  been  secured,  and  the 


175 

kiln  has  been  allowed  to  cool  entirely,  before  the 
glass  is  withdrawn. 

The  Osgood  Art  School  Matt  and  Bronze  colors 
produce  very  beautiful  effects  upon  a  plain  or 
ground-glass  surface,  and  are  semi-opaque. 

When  the  designs  are  detached  flowers,  they 
can  be  connected  with  lines  of  relief  paste,  form- 
ing a  web-work  over  the  glass,  and,  after  firing, 
treated  with  matt  gold. 

On  the  white  or  "milk  "  glass,  a  background  can 
be  laid  with  Royal  Worcester  colors,  and  decorated 
with  flowers  and  gold,  following  the  treatment 
the  same  as  if  you  were  working  upon  a  china  sur- 
face.   They  require  one-fourth  flux. 

Clear  glass  can  be  embellished  with  relief  paste, 
fired,  and  covered  with  matt  gold.  Enamels  or 
jewels  can  be  introduced  to  form  small  decorative 
designs,  flowers,  etc.,  in  connection  with  the  paste. 

A  visit  to  places  where  collections  have  been 
made  by  first-class  dealers  in  china  and  glass, 
many  useful  suggestions  will  present  themselves, 
which  had  not  been  thought  of  before  in  connec- 
tion with  glass  ornamentation. 

Notice  the  accuracy  with  which  the  paste,  gold, 
and  jewels  have  been  applied.  This  can  be  at- 
tributed, in  a  degree,  to  the  fact  that  experiments 
are  limited  as  compared  with  china  painting,  and 
only  the  skilled  workmen  are  employed  to  em- 


1 76 


hellish  the  finer  qualities  of  these  beautiful  works 
of  art.  This  need  not  discourage  amateurs,  who 
are  able,  with  patience,  to  produce  creditable  work 
in  this  direction. 

It  will  be  interesting  to  know  the  substances 
from  which  glass  and  porcelain  colors  are  obtained, 
at  the  same  time  you  are  not  encouraged  to  make 
any  experiments  in  preparing  your  own  colors, 
ending,  as  it  would  invariably,  in  disappointment. 

Leave  this  branch  of  industry  to  manufacturers, 
who  have  not  only  supplied  every  requisite  in 
colors,  but  are  constantly  adding  new  tints  as  the 
demand  increases  for  them. 

Blues  are  obtained  with  the  silicate  of  cobalt. 
The  oxide  of  cobalt  must  be  in  a  state  of  silicate 
in  order  that  the  blue  color  may  be  developed. 
The  color  once  produced  is  unalterable  at  all 
temperatures. 

Greens  are  obtained  with  the  oxide  of  chromium, 
or  with  deutoxide  of  copper,  or  with  mixtures  of 
oxide  of  chromium  and  silicate  of  cobalt,  when 
bluish  tones  are  wished.  When  these  colors  are 
required  to  be  transparent  the  oxide  of  copper  is 
used  instead  of  the  oxide  of  chromium. 

Yellows  are  commonly  obtained  by  means  of 
antimonic  acid  and  the  oxide  of  lead  (litharge) 
Sometimes  stannic  acid  (peroxide  of  tin)  is  added, 
and  oxide  of  zinc,  and  often,  also,  some  subsulphatc 


177 

of  the  peroxide  of  iron,  prepared  by  exposing  to 
the  air  weak  solutions  of  the  protosulphate  of 
iron  (copperas). 

These  colors  do  not  change  in  the  firing,  but 
they  disappear  almost  entirely  at  a  high  heat. 
They  are  easily  altered  by  smoke,  by  which  the 
oxide  of  lead  is  reduced,  which  produces  a  dirty 
gray. 

Beautiful  yellow  tones  may  be  produecd  on  glass 
by  placing  on  its  surface  a  layer  of  three  parts  of 
pipe-clay,  well  burnt  and  pounded,  and  rubbed 
up  with  one  part  of  chloride  of  silver. 

The  glass  is  then  submitted  to  the  heat ;  after 
cooling,  the  layer  of  clay  is  removed  and  the  glass 
is  stained  yellow. 

The  tint  depends  on  the  nature  of  the  glass  and 
the  proportion  of  chloride  of  silver. 

Colors  of  Gold. — These  are  carmine  reds,  pur- 
ples, and  violet,  made  by  means  of  the  precipitated 
purple  of  cassius.  These  colors  are  very  delicate, 
and  are  the  only  ones  which  change  their  tint  in 
in  the  fire  ;  underfired  they  are  of  a  dirty  violet 
tint,  but  are  changed  into  a  lively  and  pure  tone, 
by  a  moderate  burning. 

In  a  stronger  fire  these  colors  become  yellowish, 
and  even  completely  disappear. 

The  purple  powder  of  cassius  gives  a  purple  by 
itself  ;  mixed  with  chloride  of  silver,  which  gives 


1 7S 


to  it  a  yellow,  a  carmine  tone  is  produced  ;  with  a 
little  cobalt  blue,  it  is  rendered  violet. 

The  reds,  browns,  etc.,  are  obtained  with  the 
peroxides  of  iron. 

The  blacks,  grays,  etc.,  with  the  oxides  of  man- 
ganese, cobalt,  and  iron. 

In  Conclusion. — While  this  manual  makes  no 
pretensions  towards  being  an  exhaustive  treatise 
upon  china  painting,  it  is  hoped,  by  its  plain, 
simple  statement  of  facts,  to  have  rendered  valu- 
able assistance  to  amateurs,  and,  if  they  find 
anything  suited  to  their  own  requirements,  then 
its  object  has  been  attained. 


and  f©olk. 

Copyrighted  iSgi,  by 

EDGAR  L.  WAKEMAN. 


i  So 


All  who  are  interested  in  china  decoration  will 
read  with  pleasure  and  profit  the  following  article 
upon  Staffordshire  Potteries. 

It  cannot  be  considered  a  digression,  continuing 
as  it  does  the  subject  in  part  of  the  preceding 
chapters,  in  a  very  interesting  and  entertaining 
manner,  which  will  attach  a  greater  interest  to 
our  collections  of  English  ware,  now  that  we  are 
better  acquainted  with  the  place  from  whence  it 
came,  and  of  the  Potters  who  made  it. 


\ 


^tafforcUhipe   {lotteries  and  f©olk. 


By  Edgar  L.  Wakeman. 

TAFFORDSHIRE,  the  principal  seat  of 
the  English  potteries,  is  an  inland  county, 
lying  near  the  center  of  England.  Long 
and  narrow,  something  like  a  rhombus  in  form, 
it  separates  the  four  midland  counties  of  Derby, 
Leicester,  Warwick  and  Worcestershire,  on  the 
east,  from  the  two  important  western  shires  of 
Cheshire  and  Shropshire,  and  extends  north  and 
south,  one-fifth  the  length  of  the  kingdom. 

It  has  no  great  place  in  history.  The  old  monks 
were  not  attracted  to  it  as  a  region  in  which  to 
build  splendid  abbeys.  Antiquarians  have  not 
found  much  in  it  to  wrangle  over.  It  has  inspired 
little  in  romance  and  song.  No  one  ever  came  to 
it  a  second  time  for  its  beauty.  Forbidding  and 
unfertile  hills  merge  into  flat  and  monotonous 

*  By  permission  of  the  Author. 


lS2 


meadows  in  the  south.  Along  its  middle  reaches 
are  the  coal-pits,  and  the  near  forges  with  the  dis- 
mal thunderings.  In  the  north,  even  less  comely 
than  the  south,  begin  the  bleak,  bare  elevations  of 
Bunster  and  Weever,  the  true  English  moorlands 
which  stretch,  with  varying  height  and  dreariness, 
north  through  the  entire  kingdom,  spreading  into 
the  wild  and  desolate  mountain-moors  of  York- 
shire, Durham  and  Northumberland,  until  lost 
among  the  mists  of  Scotland  which  sway  and 
sweep  above  the  mournful  Yarrow  and  murmur- 
ous Tweed.  It  has  a  few  commonplace  streams ; 
one  little  lake,  measured  by  yards  ;  and  one  river, 
the  Trent,  the  third  in  size  and  extent  in  England, 
though  unnavigable,  which  springs  from  little 
Newpool,  near  Biddulph  at  the  edge  of  Cheshire, 
flows  southeasterly  through  the  entire  shire  ;  but 
with  never  a  glen  to  invite  legend,  nor  a  cascade 
to  make  or  inspire  song. 

Two  Roman  roads  or  military  ways,  Watling 
Street  and  Icknield  Street,  intersecting,  cross  the 
shire  from  east  to  west.  If  you  will  tramp  to  the 
Longwynd  Hills,  over  in  Shropshire,  you  can 
trace  the  trackway  worn  white  and  bare  to  the 
eternal  stone,  over  which  the  Romans  brought 
supplies  of  pottery,  1800  years  ago,  from  the 
Severn  valley  and  Staffordshire,  to  their  military 
stations  south  and  southwest  of  ancient  Uriconium. 


t$3 

At  least  the  curious  old  books  will  bravely  tell 
you  that  is  how  the  huge,  bleached  furrow  you 
will  see  was  dug  through  the  gorse  and  hare-bells 
of  the  wild  and  unlovely  waste.  Better  ways 
than  these  now  traverse  the  shire.  Canals  gleam 
along  valleys,  glisten  above  viaducts  and  pene- 
trate mountains,  making  seaports,  of  every  busy 
town ;  and,  with  the  railways,  they  have  cut 
old  Stafford  into  more  curious  patterns  than  a 
grandam's  "  broken-dish  "  patch-work  quilt. 

The  shire  was  once  all  forest  land.  That  was 
not  long  ago.  But  they  assert  in  Staffordshire 
that  all  these  old  forests  were  felled  and  the 
whole  shire  formerly  made  bare,  simply  to  fire 
the  old-fashioned  ovens.  Out  of  these  came  the 
tygs,  posset-cups  and  pots  of  the  Roman  time, 
when  huge,  strong  mugs  were  good  enough  for 
drinking-purposes,  the  Delft  pitchers  and  por- 
ringers of  the  Norman  period  ;  down  to  even 
those  marvellous  achievements  of  the  Wedgwood 
time,  when  the  priceless  Barbereni,  or  Portland, 
vase  was  not  only  duplicated  but  excelled  in  fifty 
wondrous  copies.  Then  came  the  era  of  coal  and 
clay  in  Staffordshire,  or  more  properly  speaking 
of  Wedgwood,  clay  and  coal.  Somebody  has  com- 
puted that  you  could  walk  on  crockery  over  all 
the  area  of  Staffordshire,  which  comprises  about 
750,000  acres  of  land,  if  all  that  ever  went  out  of 


1 84 

the  shire  could  be  brought  back  and  set  down 
piece  by  piece  within  it.  But  without  one  prime- 
val tree,  and  with  room  for  but  few  others  save  in 
parks  and  demesnes  of  the  nobility  and  potter 
gentry,  Staffordshire  is  still  a  forest :  in  the  south 
and  center  a  mighty  forest  of  chimneys  where 
coal  and  iron  endlessly  burn  and  fuse  and  pollute 
the  land  from  flaming  caverns  at  the  feet  of  levia- 
tree-trunks  of  brick,  from  whose  tops  overspread- 
ing arms  of  smoke  wheel  and  turn  with  the  wind, 
and  the  blessed  sunlight  rarely  filters  through 
their  thick  and  sulphurous  pall-like  foliage.  In 
the  north,  still  a  forest  of  chimneys  in  the  Pot- 
tery District  so  dense,  here  with  the  great  ovens 
at  their  feet  looking  like  monstrous  ten-pins  of 
giants,  that,  standing  in  the  tower  of  the  old 
church  at  Henley,  through  the  stacks  of  Turnstall. 
Burslem,  Milton,  Bucknall,  Longton,  Stoke-on- 
Trent,  Henford,  Lane  End,  Penkhull,  Newcastle 
and  Etruria,  you  cannot  clearly  define  in  half  a 
dozen  tiny  spots  the  dreary  horizon-line. 

This  hideous  transformation,  out  of  which  such 
vast  utilitarian  stores  and  countless  articles  of 
beauty  have  come,  has  been  the  work  of  little 
more  than  a  century.  Pottery  work  of  300  years 
ago  can  be  definitely  traced  to  Burslem.  The 
town  was  then  known  as  a  butter  pottery,  that  is, 
a  pottery  where  pots  for  keeping  butter  were  made. 


i85 

Then  in  1690  along  came  two  ingenious  Holland- 
ers named  Eler.  They  introduced  a  new  form  of 
glaze  secured  by  superficial  vitrification  of  the 
clay  through  the  superheated  fumes  of  common 
salt.  The  Elers  also  brought  to  Stafford  the  un- 
glazed  red  China  method  from  the  east.  This 
was  all  very  wonderful  for  that  time,  but  by  and 
by  white  ware  made  its  appearance  through  an 
accidental  discovery.  On  a  journey  to  London, 
one  of  the  Burslem  potters  had  powdered  flint 
•recommended  by  an  inn-hostler,  for  his  horse's 
disordered  eyes.  To  more  easily  pulverize  it,  a 
flint  stone  was  thrown  into  the  fire.  The  potter 
saw  that  the  flame  changed  it  to  a  pure  white. 
Flint  stones  were  gathered  in  the  south  of  Eng- 
land, sent  to  Staffordshire  in  large  quantities, 
mixed  with  tobacco-pipe  clay,  and  pure  white 
stoneware  was  produced.  The  crushing  and 
grinding  mills  for  pulverizing  flint,  mixing  it  like 
flour  with  water,  and  serving  it  in  paste  of  any- 
desired  consistency,  were  only  a  matter  of  time. 
Then,  in  1763,  Josiah  Wedgwood  perfected  earth- 
enware for  the  table — whose  delicate  cream  color 
is  so  attractive  to  collectors — which  so  pleased  the 
Queen,  that  she  gave  to  it  her  name  and  patron- 
age. The  word  Queen  was  stamped  in  all  these 
dishes.  Hence  "  Queensware  "  of  that  and  the 
present  time.   Following  this,  came  the  most  bril- 


[86 

liant  career  ever  enjoyed  by  manufacturer.  The 
story  reads  like  an  Arabian  Nights'  tale.  This 
one  man  Wedgwood,  not  a  learned  man  from  the 
collegiate  standard,  a  cripple  through  a  malignant 
disease  in  youth,  and  not  one  who  had  inherited 
prestige  or  substance,  seemed  to  possess  the  auda- 
cious originality  of  all  real  genius,  inconceivable 
patience,  and,  above  all,  an  unswerving  loyalty  to 
true  art.  With  these  qualities,  he  so  wedded  art 
to  refined  progress  and  utility  that  there  was  re- 
covered from  the  whole  sweep  of  the  known  past ' 
nearly  everything  of  true  beauty  that  had  been 
revealed  to  the  potter.  With  marvelous  rapidity 
of  conception,  development,  application  and  adapt- 
ability, he  not  only  recovered  and  re-created  what 
seemed  irreplaceable,  but  established  to  endure 
new  standards  in  the  noblest  ideals  possible  to 
ceramic  art.  In  a  word,  fifty  centuries  of  art  effort 
were  by  his  brain  and  hand  concentrated  into  fifty 
years  of  incomparable  creations.  More  wonderful 
than  his  own  work,  taste  kept  abreast  of  his  ex- 
quisite revelations.  Nearly  a  century  has  elapsed 
since  he  died  here  at  the  Etruria  he  built.  To  be 
exact,  it  is  just  96  years.  But  in  all  this  interim 
of  progress,  no  added  precious  secret  in  ceramics 
has  been  disclosed.  It  almost  seems  that  this  was 
the  one  man  predestined  to  come  and  throw  open 
wide  the  door  upon  their  exquisite  mysteries.  It 


i87 

is  no  wonder  that  single  pieces  from  his  hand  are 
now  worth  the  value  of  a  king's  crown. 

But  all  this  is  well  known.  Wedgwood  is  buried 
in  the  modest  church-yard  over  there  at  Stoke. 
There  is  no  cenotaph  or  column  above  his  grave, 
but  his  monument  is  in  every  refined  home  through- 
out the  world.  It  is  also  in  the  complete  renais- 
sance of  one  of  the  most  useful,  enduring  and  lovely 
of  all  the  arts.  It  is  visibly  and  practically  here  in 
Staffordshire,  in  this  great  cluster  of  pottery  towns 
and  cities,  housing  fully  200,000  people;  and,  in  the 
outlying  villages,  and  through  the  vast  outreaches 
and  interchanges  of  the  Staffordshire  pottery  trade, 
which  alone  supports  more  than  half  a  million 
souls.  And  best  of  all,  to  us,  it  is  in  the  redupli- 
cation in  our  American  cities,  of  these  great  estab- 
lishments, where  our  own  labor  and  our  own  capi- 
tal are  gradually  acquiring  such  skill  and  rewards 
that,  before  a  new  century  shall  come,  the  deserv- 
ing fame  of  our  own  ceramic  art  shall  vie  with 
that  of  any  land. 

But  there  is  other  interest  in  the  potteries  than 
that  connected  with  their  mercantile  facts  and 
figures;  with  their  extraordinary  art  development, 
compelling  the  employment  of  the  most  noted  and 
skillful  decorative  artists  in  Europe;  or  even  with 
these  bewildering  show-rooms  of  tiles,  vases, 
plaques,  candelabra,  state  table  services,  chimney- 


iSS 


pieces,  multifarious  ecclesiastic  decorations,  Etrus- 
can embellishments,  enamels,  cabinet-settings, 
piatti  di  pompa,  Samos  bowls,  seals,  reliefs,  medal- 
lions, cameos  and  intaglios,  without  end  in  variety 
and  number.  This  is  in  the  every-day  life,  habits, 
aspirations,  character  and  amusements  of  the 
potters  themselves. 

I  believe  not  a  kindlier,  more  comfortable  or 
contented,  folk  live,  than  these  Staffordshire  pot- 
ters. There  are  economic  reasons  for  this  which 
American  manufacturers  could  study  with  profit. 
While  rivalry  between  manufacturers  is  of  the 
keenest,  unvarying  provision  is  made  against 
periods  of  depression  ;  so  that  at  all  times  there 
is  unbroken  sustentation  of  labor.  If  slight  re- 
duction is  ever  necessary,  it  is  only  in  the  quantity 
produced.  Wages,  invariably  by  the  "piece,"  are 
never  reduced.  Every  penny  due  every  man 
is  paid  him  each  Saturday  noon.  The  result 
is,  workmen  are  sure  of  certain  income.  This 
just  and  humane  treatment  makes  good  citi- 
zens and  comfortable  homes  anywhere.  But  the 
universal  good  nature  of  the  Staffordshire  potters 
is  attributed  by  themselves  to  a  curious  hereditary 
belief.  "  Working  in  earth,"  they  say,  makes 
them  "easy-minded." 

There  are  preserved  many  sunny  pictures  of 
the  master-potter's  home  in  the  17th  and  18th  cen- 


iSg 

turies.  The  genial  autocrat  of  pitchers,  jugs  and 
porringers  of  that  time,  whose  workmen  lived  in 
thatched  hovels  not  fit  for  swine,  were  each  sup- 
posed to  exist  in  an  ample  thatched  and  timbered 
dwelling,  with  deep  eaves  and  leaded  casements, 
built  against,  or  around,  the  pot-work  itself.  You 
entered  either  from  the  street  or  the  garden  a 
roomy  houseplace  or  kitchen.  In  a  gable  next 
the  pot- work  was  a  capacious  chimney-place,  and 
opposite  this  was  the  parlor.  The  houseplace  had 
its  ponderous  settle,  its  leather-covered  easy-chair, 
a  shelved  dresser,  clock,  and  tables.  Behind  the 
dresser  the  crateman's  scores  were  chalked  ;  and 
on  the  dresser  shelves  were  displayed  the  master- 
pieces of  the  potter's  art  of  that  time.  Snug  and 
comfortable  as  all  this  was,  you  can  find  10,000 
homes  of  potter  workmen,  within  a  five-mile  radi- 
ous  of  Henley,  where  the  poorest  potter  of  the  dis- 
trict lives  as  snugly  as  his  master  predecessor. 
His  cottage  is  of  brick.  It  has  two  stories,  and 
the  blessing  of  perfect  drainage.  On  the  ground- 
floor  are  a  parlor  with  a  pretty  fire-place,  a  large 
living-room  provided  with  a  huge  grate,  hobs  and 
"jockey-bar"  for  swinging  pots  and  kettles  ;  and 
behind  this  is  a  scullery,  with  a  fine  little  garden 
at  the  rear.  The  upper  floor  comprises  two  large 
sleeping  rooms.  This  gives  every  potter-family 
here  a  five-roomed,  completely  detached  house 


and  garden.  Ordinary  workmen  earn  the  year 
round  from  25  to  30  shillings  weekly.  If  there 
happen  to  be  daughters,  one  maybe  a  "  paintress," 
coloring  the  cheaper  wares  and  earning  eight  shil- 
lings, and  perhaps  another  a  "  burnisher,  "  earning 
6  shillings  per  week.  Many  families  thus  secure 
35  to  40  shillings  per  week  ;  while  the  potter's  rent 
and  rates  do  not  exceed  20  shillings  per  month  for 
such  a  home.  Many  of  the  homes  have  area 
flower-plats.  In  the  gardens  of  all  are  mazes  of 
flowers  and  vines  in-summer.  Every  potter's  par- 
lor must  have  its  solemn-voiced  "  grandfather's 
clock."  It  also  boasts  chests  of  linen,  drawers  of 
comfortable  clothing,  and  many  cheap  and  pretty 
pieces  of  furniture  ;  while  on  the  mantel  or  bureau- 
top  is  always  found  some  fanciful  sketch,  painting 
or  curious  model,  pertaining  to  the  potter's  voca- 
tion ;  the  result  of  emulation  to  win  prizes  for  in- 
vention in  new  processes,  or  for  unique  and 
original  designs  in  modeling  and  decoration. 

The  potter's  daily  routine  is  an  inevitable  one. 
At  6  in  the  morning  he  leaves  home,  "  Tommy  " 
or  "snap'n"  (his  breakfast,  dinner,  or  both)  in  a 
red  cotton  handkerchief  in  one  hand,  and  in  the 
other,  his  can  of  coffee,  which  he  heats  on  the 
"  pot "  that  is  used  in  drying  the  ware  before  burn- 
ing. He  works  little  or  much,  at  will,  from  the 
opening  of  the  pottery  gates  at  6  in  the  morning, 


191 

until  the  same  hour  in  the  evening,  when  he  re- 
turns home  to  tea.  This  meal  consists  of  bread, 
butter  and  tea,  with  any  handy  trine  left  over  from 
the  home  meals  of  the  day  ;  but  always  includes,  in 
season,  cress,  radishes  or  onions,  from  his  little 
garden.  His  work  is  endlessly  hot  and  dusty,  and 
he  " hungers  for  green  things"  ever.  After  his 
evening  meal,  he  is  found,  until  bed  time,  at  the 
public  house,  or  with  groups  of  his  fellows  at  the 
street  corners,  or  in  the  market-place,  grinning  at 
mountebanks  or  unctuously  joining  in  the  services 
of  the  "Salvationists."  If  devout — and  however 
much  these  men  freqiient  the  "pubs,"  they  are 
nearly  all  enthusiastic  Wesleyans — on  Sunday  they 
are  found  at  prayer-meeting  before  breakfast,  at 
Sunday  school  again  in  the  afternoon,  and  at  ser- 
vice at  6  in  the  evening.  Between  4  and  6,  on 
Sunday  afternoons,  with  their  families  they  will 
number  a  round  100,000,  strolling  along  the  clayey 
roads  and  lanes. 

Their  dialect,  somewhat  similar  to  that  of  the 
lowly  in  Cheshire,  is  worthy  of  illustration.  An 
old  lady,  impatient  of  what  she  conceived  to  be 
my  "  oopstart "  bookish  ways  in  arriving  at  exact 
information,  remarked  to  me  with  some  show  of 
spirit :  "  Theigh  thenkst  theyt  sumbuddy,  with 
theight  dicsonary  nonsense.  But  oi  thenkst  theight 
a  reglar  feu  (foo,  fool)  !" 


192 

A  potter  will  greet  a  fellow  with  :  "  Well,  Turn 
(Tom),  lad,  haa  dew  ?"  "  Haa  dew  ?"  is  the  invari- 
able answer.  "  Er  "  is  universally  used  for  "  she," 
and  degrees  of  nearness  are  indicated  by  "  It's  ay- 
mest  nearest."  The  following-  conversation,  which 
I  caught  from  two  potter  "  throwers "  at  their 
work  on  a  Saturday  morning,  regarding  a  pros- 
pective visit  to  the  playhouse,  of  which  they  are 
all  very  fond,  is  as  good  an  illustration  as  can  be 
given  of  Staffordshire  dialect  among  the  lowly. 

"  We'rt  goin'  t'night  ?" 

"Well,  w'ats  say  bait  goin' t'  plee  !" 

"  Well,  w'ats  theighr  on  ?" 

"  King  Dick." 

"  N'  w'ats  t'  after-peyce  loike  ?" 
"  Well,  oi  canna  just  remember  naa.  But  oi  das 
seay  et  '11  be  a  proper  good  fearce." 
"  Wer  shan  we  meight  (meet)  ?" 
"Oi'll  seey  theigh 't  thee-ay-ter  dooar." 
"  Aye ,  theait'll  dew." 
"Oi'll  be  theer  !" 


Established  1877, 

DOMESTIC  BUILDING, 

NEW  YORK. 


194 


pupils  who  wish  to  advance  to  the  finished  work 
of  Art,  with  its  principles  and  practice,  clearly 
explained. 


A  Decorative  course,  for  those  who  desire  to 
pursue  painting  as  a  pastime  and  pleasure. 

The  number  of  lessons  are  optional  with  the 
pupil,  who  may  enter  at  any  time. 

The  School  remains  open  during-  the  Summer 
months  for  the  convenience  of  Teachers,  and 
those  whose  avocation  leaves  them  no  time  for 
self-improvement  in  the  Winter. 


195 

Pleasant  homes,  with  board,  secured  for  pupils, 
at  reasonable  rates,  in  the  vicinity  of  the  School. 


TERMS : 


$1.00  for  three  hours'  Lesson,  or  Six  Lessons 
for  $5.00,  in  advance. 

Special  Rates  by  the  Month. 

CLASS  HOURS  FROM  9  TO  12  AND  1  TO  4  DAILY. 


Elementary  Drawing. 

Drawing  and  Painting  from  Casts. 

Special  Instruction  in  the  Principle  of  Light  and 

vShade  as  applied  to  Objects. 
Practical  Perspective  as  applied  to  Painting  and 

Composition. 


WILL  COMPRISE 


Painting  from  Still  Life  ;  Theory  and  Arrange- 
ment of  Colors  explained. 
Landscape  in  Oil  and  Water  Colors. 
Flowers  from  Nature  and  Copy. 

Photograph  Coloring  in  Oil  and  Water  Colors, 
and  Crayon  Portraiture. 

Instruction  for  Painting  upon  Plush,  Silk,  Satin, 

Placques,  Panels,  Screens,  etc. 
Painting  upon  Tapestry  in  Dyes  and  Oil  Colors. 

and  all  the  Latest  Novelties  of  Decorative 
Work. 

Mineral  Painting  upon  China,  in  Heads,  Figures, 
Landscape,  Flowers — Royal  Worcester  Doul- 
ton ;  and  Gilding  in  all  its  branches.  Also 
Figures  and  Flowers — "  Dresden  method." 

Pyrography,  or  Burnt  Wood  Engraving. 


Is  provided  with  Draperies  and  Casts  to  draw 
from,  besides  a  large  variety  of  Studies  from 
Nature,  for  pupil's  use,  without  extra  charge. 


197 


Is  in  charge  of  a  thorough,  practical  Decorator, 
whose  experience  in  all  branches  of  china  painting 
insures  competent  instruction  in  Royal  Worcester, 
Doulton,  Figures,  Heads,  Landscape,  Flowers, 
Fruit,  Fish  and  Game,  etc. 

Pupils  are  supplied  with  original  designs  in  the 
classes  to  copy  from,  without  extra  charge. 


CHINA  FIRED  DAILY.  HIE  INS  ON  HE  PREMISES. 


Estimates  Given  for  Gilding  and  Firing. 
f&iping  anb  d^iltbing  fop  ^\ma1cui°§  a  <§peeialtvj. 

We  guarantee  every  possible  care,  but  cannot 
hold  ourselves  responsible  for  breakage  in  firing. 
Express  orders  receive  prompt  attention.  No 
charge  for  re-packing. 

A  large  assortment  of  the  finest  French  and 
English  China  ;  also  American  Faience  supplied 
at  reasonable  prices. 

Price  List  for  Firing  on  Application. 


198 

PRACTICAL 

Y^opking  <f§)esigns  in  (§^olop. 

SIZE.   1 1 1 2  ^  is. 
Copyright.  1888.  by  Osgood  Art  School. 


Reduced  Size. 


EAUTIFUL  hand-colored  special  studies  for 
Royal  Worcester  and  Doulton  Decoration, 
suitable  for  Lamps,  Vases,  Placques,  etc. 
The  plate  contains  one  design,  full  size  in  outline. 
A  duplicate,  reduced  in  colors,  on  tinted  grounds, 
and  traced  with  gold,  giving  the  number  and 
names  of  colors  necessary  for  each  design.  The 
direction  for  treatment  clearly  explained,  making 


i99 

in  all  a  complete,  reliable,  comprehensive  guide 
for  china  decorators,  who  can  foresee  at  a  glance 
what  is  required,  and  how  to  accomplish  it. 

These  designs  are  characteristic,  in  gold  and 
colors,  of  the  Royal  Worcester  and  Doulton. 

BY  MAIL  IN  TUBES, 


75  Cents. 

No. 

1.  Perry  Winkle     65c 

2.  Chrysanthemums   65c. 

3.  Lotus  Blossom,  for  Tray   65c. 

4.  Lotus  Buds  and  Leaves,  for  Plate   65c. 

5.  Birds  and  Blossoms   65c. 

6.  Orchids   65c. 

7.  Purple  Clematis   65c. 

3.  Peonies.    Conventionalized   65c. 

9.  Pansies   65c. 

10.  Iris,  for  Tray   65c. 

11.  Anemones   65c. 

12.  Poppies   65c. 

13.  Cactus   65c. 

14.  Birds  and  Branches     65c. 

15.  California  Morning  Glorys   65c. 

16.  Clematis     65c. 

17.  Primroses   65c 

18.  Passion  Flower   65c. 


200 

©sgood  Art  School  Gold, 


(~7  UPERIOR  in  quality,  durable,  and  warranted 
(i)J  to  give  satisfaction.  They  are  finely  ground 
and  prepared  upon  glass  palettes,  put  up  in  boxes 
with  full  directions  for  use.  They  can  either  be 
be  burnished  or  polished. 

Matt  or  Burnished  Gold,  per  box   $i  oo 

Hard,  Unfluxed  Gold,  for  overcolor  exclu- 
sively  i  oo 

Green   i  oo 

Red   i  oo 


(SyiPiling  upon  ©ftina 

After  the  manner  of  Royal  Worcester,  Doulton, 
Crown  Derby,  Hungarian  and  ATienna  manufac- 
tory has  been  considered,  until  quite  recently,  be- 
yond the  ability  of  amateurs,  and  all  ware  to  be 
finished  with  gold  was  necessarily  placed  in  the 
hands  of  professional  decorators  for  completion. 


20I 


This  difficulty  has  been  superseded,  however, 
by  using-  the  "  Osgood  Art  School  Gold,"  pre- 
pared and  especially  designed  for  amateur  china 
painters. 

The  efficacy  of  this  gold  having  been  so  thor- 
oughly tested,  there  is  no  hesitancy  in  recom- 
mending its  use  to  all  decorators  of  china.  One 
trial  will  convince  the  most  incredulous,  who  will 
find  it  at  once  practical  and  convenient.  The 
directions,  if  closely  followed,  will  enable  all  to  do 
their  own  gilding  successfully. 

The  gold  is  in  the  form  of  brown  paste,  dispen- 
sing with  the  tedious  process  of  grinding,  and 
adding  mediums,  the  quantity  of  which  cannot 
easily  be  determined  by  beginners,  ending  often 
in  waste  and  unsatisfactory  results. 

It  also  increases  the  value  of  decoration,  admit- 
ting of  an  elaborate  use  of  Gold  and  Bronzes,  at 
a  much  less  expense  than  the  prices  charged  at  factories 
for  the  same  amount  of  work. 


202 

THE  OSGOOD  ART  SCHOOL 

Royal  W°rcester,  }J[att 

AND 

Bronze  G°l°rs 

Recommend  themselves  to  artists  and  amateur 
decorators  of  china.  They  have  been  selected 
with  special  care,  prepared  and  ground  extra  finc> 
which  greatly  facilitates  painting  with  powdered 
colors.  The  list  comprises  every  combination 
required  to  reproduce  the  soft,  rich  coloring  of 
Worcester,  Doulton,  and  Derby  decorations.  They 
are  readily  adapted  to  all  kinds  of  ware,  and 
are  fired  at  the  same  degree  of  heat  as  glaze 
colors.  They  will  stand  repeated  firing,  provided 
the  heat  does  not  exceed  "  rose-color."  Matt  colors 
are  rich,  deep  in  tone,  and  fire  without  a  glaze, 
while  bronze  colors  are  semi-glazed,  producing 
the  metallic  effect  of  Doulton  decorations.  They 
are  all  to  be  mixed  with  fat  oil  and  turpentine,  and 
applied  in  the  same  manner  as  La  Croix  colors. 


203 

H-IvIST    OF    THE  -H- 


Osgood  ^rt  Sebo°l 

Royal  Worcester  Powder  Colors. 


PREPARED  AND  GROUND  EXTRA  FINE. 


Put  up  in  Vials. 

price. 


White. 

♦Matt  White  :  $o  30 

Black. 

♦Matt  Black   30 

Gray. 

♦Matt  Neutral  Gray   ,   30 

♦Matt  Warm  Gray   30 

Pink. 

♦Matt  Pink   40 

Reds. 

♦Matt  Flesh  Red   40 

Matt  Brick  Red   40 

♦Matt  Dry  Red   40 

Purple. 

♦Matt  Purple   50 

Violet. 

Matt  Violet   50 


204 


Blues. 

-Matt  Light  Blue  $o  30 

Matt  Turquoise  Blue  s   30 

Matt  Paris  Blue     50 

Matt  Deep  Blue   30 

Greens. 

*  Matt  Olive  Green   30 

*Matt  Blue-Green   30 

*Matt  Dark  Gresn   30 

*Matt  Light  Yellow-Green   30 

Browns. 

*Matt  Yellow-Brown   30 

x*Matt  Brown     30 

Yellows. 

*Matt  Lemon  Yellow   30 

*Matt  Gold  Yellow   30 

Relief. 

-Gold  Relief  Paste   30 


;::  Necessary  colors  for  small  list  including-  Bronze   Colors  marked  * 
page  205. 

 m  

OSGOOD   ART  SCHOOL 

Special  (3rounbino  Colors. 

— ^ — 


*Royal  Worcester  Cream  $0  30 

*Royal  Worcester  Ivory  Vellum,  Nos.  1  and  2   30 


fflATt  BR0NZE. 


205 

WATT  BR0NZE. 

Semi-Glazed. 

GROUND    EXTRA  FINE 
PUT   UP   IN  VIALS. 

PRICE. 

*Matt  Bronze  Pink  $0  40 

Matt  Bronze  Salmon.  ...   30 

*Matt  Bronze  Lavender   50 

Matt  Bronze  Terra  Cotta,  Nos.  1  and  2                 ....  30 

Matt  Bronze  Celeste   30 

Matt  Bronze  Brown     30 

*Matt  Bronze  Green,  Nos.  1  and  2    30 

Matt  Bronze  Water  Green   30 

*Matt  Bronze  Celadon   30 

*Matt  Bronze  Yellow.   30 

*Matt  Bronze  Orange   30 

Matt  Bronze  Golden  Buff    30 

Matt  Bronze  Coral  Red   40 


206 

SUPERIOR 

Relief  Enamel  Color^. 

Finely  Ground  for  China— in  imitation 
of  Jewels. 


To  be  mixed  with  Fat  Oil  and  Turpentine. 


Put  up  in  Vials.  Price,  30  cents  each. 


Relief  White, 

Turquoise  Blue, 

Light  Yellow, 

Light 

Deep  " 

Deep  " 

Lemon  " 

Dark 

Light  Orange  Yellow, 

Purple, 

Orange, 

Light  Purple, 

Light  Green, 

Medium  " 

Medium  11 

Rose, 

Dark 

Light  Red, 

Deep  " 

Dark  " 

Apple  " 

Yellow  Brown, 

Blue 

Brown, 

Deep  Blue  Green, 

Dark  Brown, 

Opaque  " 

Extra  Deep  Brown 

Turquoise      1 ' 

Pearl  Gray, 

Light  Turquoise, 

Black, 

Deep 

Crackled  White 

Opaque  " 

207 

OSGOOD  ART  SCHOOL 


special  Preparations. 

FINELY  FREPflREb  TINTINQ  OIL, 

To  thin  Matt  and  Glaze  Colors  for  Grounding 
and  Painting. 


OUNCE   BOTTLE,  30  CENTS. 


?T  is  quite  important  that  all  Mediums  for 
china  painting  should  be  of  the  very  best 
quality,  and  prepared  with  judgment,  to  obtain 
the  proper  consistency  for  working  the  colors 
smoothly.  Particularly  will  this  apply  to  ground- 
laying,  where  several  mediums  are  required,  and 
the  quantity  restricted  to  an  exact  proportion  of 
each.  Amateur  decorators  of  china  can  testify  to 
discouraging  experiences,  and,  withal,  have  not 
succeeded  to  their  entire  satisfaction.  To  those, 
and  all  others  interested  in  china  painting,  would 
we  recommend  our  finely  prepared  Tinting  and 
Painting  Oil,  guaranteed  to  work  equally  well 
with  all  ceramic  colors. 


2o8 


For  Removing  Color  from  Tinted  Grounds. 
Does  its  work  quickly,  leaving  the  design  in 
white  for  painting,  with  full  directions. 

Half-ounce  Bottle,    '25  Cents. 
by  Mail,  postpaid,  30  cents. 


209 




White. 

Relief  White  (Aufsetzweis)  per  vial,  30c. 

Yellows. 

Egg  Yellow    per  tube,  25c. 

Lemon  Yellow   .                          "  25c. 

Canary  Yellow                                                   "  25c. 

Relief  Yellow                                                     "  25c. 

Ivory  Yellow                                                     "  25c. 

Albert  Yellow                                                  "  70c. 

Greens. 

Yellow-Green  per  tube,  30c. 

Blue-Green                                                        "  40c. 

Dark  Green                                                          44  30c. 

Shading  Green                                                   "  30c. 

Olive  Green                                                      "  30c. 

Grass  Green  . .                                                 "  30c. 

Turquoise  Green                                                "  60c. 

Black-Green                                                      "  30c. 

Blues. 

Air  Blue  per  tube,  35c. 

Dark  Blue                                                         "  45c. 

Carmine  Blue                                                    "  65c. 

Turquois  Blue                                                     "  60c. 


2IO 


Light  Blue  per  tube,  30c. 

Banding  Blue                                                       "  25c. 

Pinks  and  Purples. 

Rose  Purple  per  tube,  45c. 

Carmine  Purple                                                  "  70c. 

Deep  Purple.                                                      "  75c. 

Deep  Violet                                                        "  75c. 

Blue  Violet                                                        "  40c. 

Rose  (Rosa)                                                         "  40c. 

Browns. 

Chocolate  Brown  per  tube,  30c. 

Finishing  Brown                                                 "  30c. 

Sepia  Brown                                                      "  25c. 

Yellow-Brown                                                    "  25c. 

Dark  Brown                                                       "  25c. 

Chestnut  Brown                                                 "  30c. 

Grays. 

Gray,  for  Flowers  per  tube,  30c. 

Gray,  for  Flesh                                                  "  30c. 

Reds. 

Yellow-Red  per  tube,  25c. 

Pompadour  Red                                                  "  25c. 

Pompadour  Red,  Superior                                 "  35c 

Brown-Red                                                        "  25c. 

Flesh  Red....                                                    "  25c. 

Blacks. 

Brunswick  Black  (Braunschweigschwarz)  per  tube,  70c. 

Outlining  Black  (Schriftschwarz)                          "  30c. 

Flux. 

Flux  (Fluss)  . ,                                            .per  tube,  25c. 


